To see the other types of publications on this topic, follow the link: Architecture Early works to 1800.
Journal articles on the topic 'Architecture Early works to 1800'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Architecture Early works to 1800.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Yuliya Ivanovna, Arutyunyan. "Interpretation of Medieval art in the scientific illustration of France in the 1820s – 1860s." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 154–61. http://dx.doi.org/10.30725/2619-0303-2022-2-154-161.
Full textAbstract:
In the XIX century, the importance of scientific illustration increases. Images of the Middle Ages appear in works on the history of art and material culture, reference books, periodicals, and guidebooks. The characteristic features of scientific illustration are the desire to observe the real proportions and composition of monuments of architecture and fine art, diligence, understanding the patterns of style and reflecting them in graphic reproductions. The publications combine detailed images of architectural monuments and schematically interpreted details of facades and interiors. In the work of Seroux d’Agencourt, separate tables reproduce the exteriors and plans of famous buildings of the Early Middle Ages, Romanesque and Gothic. The dictionary of E. E. Viollet le Duc includes a number of images of works of art; the graphic interpretation of structures and objects of visual arts is clear and concise. The magazines «Le Magasin pittoresque» and «Musée des familles» are widely attracted to landscape views, including architectural structures of the Middle Ages. In «Bulletin monumental» scientific graphics relate to texts and are focused on reliable and detailed interpretation of monuments. At the turn of the XIX–XX centuries, graphic images began to be replaced by photographs, and the genre gradually lost its significance. Over the course of a century, scientific graphics have evolved from a landscape «pictorial» interpretation of the form to a scientifically reliable statement of the appearance of medieval architecture and works of art.
2
Kreizer, I. "MAGINARY OR EXPRESSIVE: XXI CENTURY ARCHITECTURE IN THE WORKS OF EXCELLENT MASTERS." Municipal economy of cities 1, no. 168 (March 25, 2022): 40–44. http://dx.doi.org/10.33042/2522-1809-2022-1-168-40-44.
Full textAbstract:
The article deals with the theme of the interaction of "expressiveness" and "pictoriality" in the work of the masters of architecture of the XXI century. Architects' methods of work with such concepts as "imagery" and "expressiveness" became the cornerstone in understanding the concept of "modern" in the late nineteenth and early twentieth centuries. The architecture of the twentieth century in the leading countries of Europe, the USA, then the USSR, trying to keep pace with scientific discoveries and technical capabilities, created a number of rationalist avant-garde trends, which later merged into modernism (international style), gradually abandoning decor and imagery in buildings. The architects of the late 19th and early 20th centuries urged to look for means of forming a new architecture without decor and ornaments. The architecture of rationalism, and then modernism, abandoned figurativeness in an effort to express the content of modernity. This approach has led to both practical and theoretical problems. Architecture as an art form began to “speak” with the user in a different language, instead of historically proven decorative and pictorial techniques, its language became an expression of abstract forms and dynamic solutions. Looking at the works of outstanding contemporary masters, the question arises what means and techniques they use in the process of creating architectural objects and whether there is a place for decor in their work. Whether decor in the architecture of the 21st century has lost its function as an informative and visual means, whether it has become an expressive component of the architectural form is a question that will be considered in the article using the examples of famous world-class architects, and the works of Ukrainian architects will also be involved. The article also discusses modern methods of work of architects with the form.
3
Gella, О., and K. Didenko. "RESIDENTIAL BUILDINGS BUILT BEHIND THE STATE INDUSTRY BUILDING (DERZHPROM) IN THE LATE 1920S AND EARLY 1930S: BLOCKS EAST OF NAUKY AVENUE." Municipal economy of cities 1, no. 182 (April 5, 2024): 43–49. http://dx.doi.org/10.33042/2522-1809-2024-1-182-43-49.
Full textAbstract:
The article is devoted to residential buildings built in the late 1920s and early 1930s in the metropolitan Kharkiv, in the area behind the State Industry Building (Derzhprom) east of Nauky Avenue. The design andconstruction of these residential neighbourhoods, which took place between 1926 and the late 1930s and had their peculiarities and diversity, are not sufficiently covered in scientific works and require a dedicated study. The preservation, documentation, and restoration of modernist buildings and complexes in eastern Ukraine, especially in the Kharkiv region, require the creation of a periodisation and systematisation of buildings belonging to this glorious period of architectural development. Residential districts created in the 1920s and 1930s in Soviet Ukraine, particularly in the metropolitan Kharkiv, are objects of cultural and historical value subject to documentation and analysis. The tendency to highlight the most outstanding examples leaves out the contextual buildings, which formed the basis of the development of the residential area behind Derzhprom and created a coherent architectural and temporal background of the urban landscape of the new administrative centre of the metropolitan Kharkiv. Meanwhile, the contextual buildings created an architectural setting for more famous examples, such as the Slovo House. When studying the scientific works of Kharkiv architecture researchers, one can pay attention to the coverage of residential blocks to the west of Nauky Avenue, an area with a radial-ring structure, and the almost complete absence of research on residential blocks in the part of the district to the east of the avenue. This fact is quite unfortunate, as the architectural landscape of the blocks in this part of the residential area is notable in its spatial, functional, and stylistic structure. In addition, these blocks are rich in ‘red’ residential buildings, raised in the second half of the 1920s in various cities of Soviet Ukraine, which became a kind of visiting card of life in the Soviet Union then. Keywords: Kharkiv, Derzhprom, residential buildings, Chervonyi Donets, Slovo, KofOk, Chervonyi brodylnyk.
4
Maslov, Konstantin. "In search of the lost tradition: towards a history of church painting of the 1830s — 1st half of the 1840s." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 74–94. http://dx.doi.org/10.15382/sturv202248.74-94.
Full textAbstract:
Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.
5
Egorova, L. V. "Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)." Voprosy literatury, no. 2 (March 15, 2024): 174–77. http://dx.doi.org/10.31425/0042-8795-2024-2-174-177.
Full textAbstract:
The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.
6
Islam, Sk Zohirul. "Six-Pointed Star Motif in Muslim Architecture of Bangladesh (Past Bengal) and Turkish Influence: An Historical Study." Bangladesh Journal of Multidisciplinary Scientific Research 2, no. 1 (May 7, 2020): 40–47. http://dx.doi.org/10.46281/bjmsr.v2i1.565.
Full textAbstract:
With the rise of Islamic states as the dominant powers of India and Indian Sub- Continent (India, Pakistan and Bangladesh) and South Asia Sultanate and Mughal period (1200-1800 A.D.), by Turkish heroic figure (horsemen), Indian art was subjected to Islamic influence, resulting in a hybrid aesthetics as well as Indo- Islamic art which flourished to varying extends across south and southeast Asia. Bangladesh is world third largest Muslim majority country and situated in South Asia. So the main and primary identity of the notion is mosque architecture and then languages via culture in Bangladesh (past Bengal). Moreover, Traditional history called Mughal and ottoman was the center of all traders and referred as the “Middle Man” due to access to water routes between Asia and Europe. The Ottoman and Mughal Empires were all founded with art and architecture by members of the same ethnically Turkic tribe and originated from Oghuz tribe. Firstly, in the early 14th century, Osman Bey established a small principality in the northeast corner of Anatolia. Despite these many similarities, there are some key difference within the approach to Islamic Art and Architecture from Miniatures Illustrations in Indian Sub-Continent to Mosque architecture in Turkey and the Levant the Mughal and Ottoman empires left their indications.Turkish Military Ikhtiyar Uddin bin Muhammad Bhaktiyer Khilji and his Turkish followers captured Bengal in 1204 A.D. and after then ruled by Turkic. Besides these many Sufis saint-like Khan Jahan Ulugh Khan, Burhan Khan, Gharib Shah, came here and spread Islam and Turkish culture with languages too. The Ilyas Shahi dynasty was the first independent Turkic Muslim ruling dynasty in late medieval Bengal, which ruled from the 14th century to the 15th century. It was founded in 1342 by Shamsuddin Iliyas Shah. As follows still presence many Turkish words which used in the Bengali language as Barood, Nishan, Chaku, Bahadur, Begum, Chadar, Surma, bavarchi, kiyma, Korma, and so on. And then showed their power through art and architecture as Mosques and Tombs follows Adina Masjid at Pandua in 1368 A.D.; Eklakhi mausoleum, Pandua; Tomb of Shah Rukn-e Alam in Multan, Sixty Domed Mosque at Bagherhat of Bangladesh, etc. Based on all evidence present, it can be found that the Turks contributed significantly to Bengali languages and culture as well as art and architecture (Mosques and Tombs). Besides many Jewish people came in here through missionary and business purposes. And also we see that there have been found many designs in mosque architecture especially six-point stars which is mentioned as a David symbol. So my focus is the Connectivity between Turkish and Bangladesh through Islamic architecture and Jewish with six point star/hexagon/seal of Solomon. It is a historical study with a journalistic approach.
7
Harris, Eileen. "Acquisition and use: British architectural books before 1800." Art Libraries Journal 17, no. 3 (1992): 7–11. http://dx.doi.org/10.1017/s0307472200007896.
Full textAbstract:
Architectural books in use in England – and specifically in the Royal Academy Library – in the second half of the 18th century included translations of the major Italian treatises; Sir William Chambers’ Treatise on civil architecture (the first work of its kind by an English author); volumes recording actual buildings by English architects; archaeological works documenting the remains of ancient buildings; and works by Fréart and Perrault on the classical orders. The latter were complemented by Henry Emlyn’s eccentric Proposition for a new order of architecture published in 1781. The contents of Sir John Soane’s private library included a number of works not available at the Royal Academy, which he criticised for providing only a “very limited collection of Works on Architecture”. Soane’s library can be seen to have anticipated the professional architectural library, including more practical books (intended in many cases for the use of builders and carpenters), which was founded at the Royal Institute of British Architects in 1834 — today’s British Architectural Library.
8
Abdul Malik, Mohd Puaad, Faisal @. Ahmad Faisal Abdul Hamid, and Rahimin Affandi Abdul Rahim. "Analyse Malay Fiqh Works Writing 1600-1800." Al-Muqaddimah: Online journal of Islamic History and Civilization 6, no. 2 (December 31, 2018): 71–89. http://dx.doi.org/10.22452/muqaddimah.vol6no2.6.
Full textAbstract:
In essence, this article will focus on the subject classical Malay fiqh works 1600-1800. Classical Malay fiqh works are Malay intellectual works produced by Malay Muslim scholars in various topics of Islamic law including worship (ibadah), commercial transaction law (muamalah), family law (munakahat) and others. This fiqh Malay work played an important role in Malay society at the beginning of Islamic development in the Malay world. It is a means of communication, scientific knowledge or developmental science. The premise of this article analyzes the writing of fiqh works that developed in the early days of the great intellectual nature of the Malay world. There are features of fiqh writing in the year 1600 and it is different from the features of fiqh writing in 1700 and 1800. The discussion of this writing includes the difference between the writing text and the style of writing fiqh and being reviewed from various scopes, items and writing features. The method of analysis used is the method of historiography or historicalism which examines the development of an idea. Facts obtained will be thoroughly screened using the Malay induction history approach. Research shows that the earliest classic Malay fiqh writing has its own identity and superiority and is a Malay intellectual work.
9
Špelda, Daniel. "Kepler in the Early Historiography of Astronomy (1615–1800)." Journal for the History of Astronomy 48, no. 4 (November 2017): 381–404. http://dx.doi.org/10.1177/0021828617740948.
Full textAbstract:
This article discusses the reception of Kepler’s work in the earliest interpretations of the history of astronomy, which appeared in the seventeenth and eighteenth centuries. The focus is not on the reception of Kepler’s work among astronomers themselves but instead on its significance for the history of science as seen by early historians of mathematics and astronomy. The first section discusses the evaluation of Kepler in the so-called “Prefatory Histories” of astronomy that appeared in various astronomical works during the seventeenth century. In these, Kepler was considered mainly to be the person who brought the work of Tycho Brahe to completion, rather than an original astronomer. The second section is devoted to the evaluation of Kepler in interpretations of the history of astronomy that appeared in the eighteenth century (often as part of the history of mathematics). In these works, Kepler is regarded as a genius who deserves tremendous credit for the advancement of the human spirit. Both sections also devote attention to Copernicus and Tycho Brahe because this facilitates the explanation of how Kepler’s contribution was judged. By studying the reception of Johannes Kepler’s work, we may gain greater insight into the transition from a cyclical perception of the history of science to the progressive model.
10
Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 152–71. http://dx.doi.org/10.46911/tvct9530.
Full textAbstract:
Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.
11
Ståhle Sjönell, Barbro. "Det tidiga 1800-talets svenska novellistik." Tidskrift för litteraturvetenskap 43, no. 2 (January 1, 2013): 5–17. http://dx.doi.org/10.54797/tfl.v43i2.10840.
Full textAbstract:
Swedish Short Stories in the Early 19th Century. Publication and Subgenres
The present study of Swedish short stories published between the years 1810 and 1829 illustrates that authors representing the Romantic Movement made special efforts to put the short story on the market. At V. F. Palmblad’s publishing house, German contemporary short stories were translated and distributed, later followed by Swedish contributions to the genre, which appeared primarily in literary magazines. Only a small number of short stories were published over the course of these 19 years, and the means of publication varied. Out of 45 works found in the catalogues of the National Library of Sweden, 27 are published separately, while 14 are published in periodicals or newspapers and two in anthologies (one of which is a frame story and the other a modern collection). Authors connected to the Romantic school introduced two new varieties of short story: the exotic story and the fantastic story. The pre-existing subgenres included, for instance: adventures, satirical or comic stories, stories of family life, travel stories and historical short stories. Among these, the historical story was the only subgenre to be printed separately. Characteristic for the short story is its ability to be inserted into many different kinds of publications. Another result of the study is the discovery of the ease with which a short story may be transferred from one form of publication to another. For instance, the short story may originate as part of a novel, only to turn into a separate work in its own right. Alternatively, it may develop as a serial story in a newspaper and go on to be printed separately, and later appear in a publishing house series or in a volume of selected works. This adaptive, or transferable, quality should be included in the ongoing discussion pertaining to the definition of the short story.
12
Vogler, Nikolai, Kartik Goyal, Kishore PV Reddy, Elizaveta Pertseva, Samuel V. Lemley, Christopher N. Warren, Max G'Sell, and Taylor Berg-Kirkpatrick. "Contrastive Attention Networks for Attribution of Early Modern Print." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 4 (June 26, 2023): 5285–93. http://dx.doi.org/10.1609/aaai.v37i4.25659.
Full textAbstract:
In this paper, we develop machine learning techniques to identify unknown printers in early modern (c.~1500--1800) English printed books. Specifically, we focus on matching uniquely damaged character type-imprints in anonymously printed books to works with known printers in order to provide evidence of their origins. Until now, this work has been limited to manual investigations by analytical bibliographers. We present a Contrastive Attention-based Metric Learning approach to identify similar damage across character image pairs, which is sensitive to very subtle differences in glyph shapes, yet robust to various confounding sources of noise associated with digitized historical books. To overcome the scarce amount of supervised data, we design a random data synthesis procedure that aims to simulate bends, fractures, and inking variations induced by the early printing process. Our method successfully improves downstream damaged type-imprint matching among printed works from this period, as validated by in-domain human experts. The results of our approach on two important philosophical works from the Early Modern period demonstrate potential to extend the extant historical research about the origins and content of these books.
13
SAMPSON, MARGARET. "‘THE WOE THAT WAS IN MARRIAGE’: SOME RECENT WORKS ON THE HISTORY OF WOMEN, MARRIAGE AND THE FAMILY IN EARLY MODERN ENGLAND AND EUROPE." Historical Journal 40, no. 3 (September 1997): 811–23. http://dx.doi.org/10.1017/s0018246x97007437.
Full textAbstract:
Marriage and the English Reformation. By Eric Josef Carlson. Oxford: Blackwell, 1994. Pp. ix+276. ISBN 0-631-16864-8. £45.00Gender, sex and subordination in England, 1550–1800. By Anthony Fletcher. New Haven and London: Yale University Press, 1995. Pp. xxii+442. ISBN 0-300-06531-0. £19.95.Domestic dangers: women, words, and sex in early modern London. By Laura Gowing. Oxford: Clarendon Press, 1996. Pp. 301. ISBN 0-19-820517-1. £35.00.The prospect before her: a history of women in western Europe, Volume one, 1500–1800. By Olwen Hufton. London: HarperCollins, 1995. Pp. xiv+654. ISBN 0-00255120-9. £25.00.Sex and subjection: attitudes to women in early modern society. By Margaret R. Sommerville. London: Edward Arnold, 1995. Pp. 287. ISBN 0-340-64574-1. £14.99.
14
King, Martina. "Gesteinsschichten, Tasthaare, Damenmoden: Epistemologie des Vergleichens zwischen Natur und Kultur – um und nach 1800." Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, no. 2 (November 9, 2020): 246–66. http://dx.doi.org/10.1515/iasl-2020-0014.
Full textAbstract:
AbstractThis paper investigates comparison as a fundamental practice within the early life sciences. Four episodes are selected that show how comparing species works in the early 19th century and how it builds bridges between scientific and literary culture: comparing living organisms in pre-Darwinian natural history (Lacépède, Treviranus), comparing species distribution in actualistic geology (Lyell), comparing organs in comparative anatomy (Müller), and – last but not least – comparing social classes in new literary genres such as sketch, ‘Paris physiology’, or travel feuilleton.
15
IIMORI, Maki, and Yuji AGEMATSU. "THE DEVELOPMENT OF FRANK 0. GEHRY'S ARCHITECTURE : Through his early works." Journal of Architecture and Planning (Transactions of AIJ) 68, no. 567 (2003): 159–64. http://dx.doi.org/10.3130/aija.68.159_2.
Full text
16
Yaldiz, Esra. "The Evaluation of 20th Century Architecture in Konya in the Context of Modern Architecture Heritage." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 171–84. http://dx.doi.org/10.18844/prosoc.v4i11.2872.
Full textAbstract:
Understanding about conservation is limited to ‘monument’ or ‘old work of art’ in the past compared with today’s new concepts like ‘historical and cultural heritage’, ‘heritage of modern architecture’ and ‘heritage of industry’. Turkey’s 20th century modern architecture was started with the early modernism buildings constructed all over Turkey, especially in Ankara and İstanbul in the first years of the Republic. This period includes all the works of architecture that were produced until the late 1980s, carrying the traces of modern movement, rationalist, purist, transparent, reinterpreting the traditional architectural values by means of modern material and seeking of independent form. In this study, the Mevlana Axis between Alaaddin Hill and the historical city centre and the works of architecture in the modernisation period between the early 1900s and 1980s on this axis, contribute to the city identity and handled in the context of modern architectural heritage are evaluated. Keywords: Modern architecture heritage, evaluation criteria, Konya.
17
Oostindie, Gert, and Jessica Vance Roitman. "Repositioning the Dutch in the Atlantic, 1680–1800." Itinerario 36, no. 2 (August 2012): 129–60. http://dx.doi.org/10.1017/s0165115312000605.
Full textAbstract:
After some decades of historical debate about the early modern Atlantic, it has become a truism that the Atlantic may better be understood as a world of connections rather than as a collection of isolated national sub-empires. Likewise, it is commonly accepted that the study of this interconnected Atlantic world should be interdisciplinary, going beyond traditional economic and political history to include the study of the circulation of people and cultures. This view was espoused and expanded upon in the issue of Itinerario on the nature of Atlantic history published thirteen years ago—the same issue in which Pieter Emmer and Wim Klooster famously asserted that there was no Dutch Atlantic empire. Since this controversial article appeared, there has been a resurgence of interest among scholars about the role of the Dutch in the Atlantic. With Atlantic history continuing to occupy a prominent place in Anglo-American university history departments, it seems high time to appraise the output of this resurgence of interest with an historiographical essay reviewing the major works and trends in the study of the Dutch in the Atlantic.
18
Liljas, Juvas Marianne. "”Från pappas lydige Henric”: Pedagogiska perspektiv på det tidiga 1800-talets bildningsresande." Nordic Journal of Educational History 6, no. 2 (December 13, 2019): 73–99. http://dx.doi.org/10.36368/njedh.v6i2.151.
Full textAbstract:
“From daddy’s obedient Henric”: Pedagogical perspectives on educational travel of the early 1800s. This article analyses educational travel in the early 1800s from the perspective of its educational heritage and praxis. The aim is to develop an understanding of the pedagogical significance of educational travel. The article makes clear how upbringing and education are represented in the framework of travel narratives in pre-industrial landscapes. The argument is based on the influence of the mercantile class on educational travel and the informal effect of these trips on changes in pedagogical thinking. The travel letters of Johan Henrik Munktell from 1828 to 1830 are used as primary sources. Using Paul Ricoeur’s memory-critical hermeneutics, travel narratives become significant sources for how education is arranged, and immanent pedagogy is a key term. The results demonstrate that the individualisation process works together with forms of crypto-learning, the core of the personal development vision, and society’s long-term memory.
19
Ostaric, Lara. "Absolute Freedom and Creative Agency in Early Schelling." Philosophisches Jahrbuch 119, no. 1 (2012): 69–93. http://dx.doi.org/10.5771/0031-8183-2012-1-69.
Full textAbstract:
bstract. By arguing that the connection between Schelling’s reception of Plato and Kant’s conception of genius is relevant for Schelling’s early development, this essay demonstrates the following: (1) that Schelling’s early Idealism brings to the general problem that plagues German Idealists, i.e., the search for an unconditioned principle that unites theoretical and practical reason, the solution that is genuinely his own, this original solution consisting in Schelling’s conception of “creative reason [schöpfersiche Vernunft]”; (2) that the theme of an absolutely free creative subjectivity is shared by many of Schelling’s early works and, hence, that the early development of his Idealism can be interpreted as a beginning of the philosophical system or as a “proto-system” of what was later to become his 1800 System; (3) that when compared to Kant’s notion of genius, Schelling’s “absolute I” should be considered a regress rather than a progress.
20
Fokin, Alexander Anatolyevich. "Philosophical Principles of Heinrich Klee’s Theology (1800–1840)." Philosophy of Religion: Analytic Researches 6, no. 1 (2022): 24–36. http://dx.doi.org/10.21146/2587-683x-2022-6-1-24-36.
Full textAbstract:
The article focuses on the study of the dogmatic works of Heinrich Klee (1800–1840) in relation to his criticism and reception of contemporary philosophical systems. The dogmatic theology of Heinrich Klee is a little-studied page in the history of Catholic religious thought in the first half of the 19th century, yet for his contemporaries Klee was a significant thinker, and his theology was the subject of active discussion. The works of Klee are known to have been criticized more than once in connection with the possible borrowing of philosophical ideas in his dogmatic theology. This criticism, however, was taken for granted, without being corroborated by any specific study of his texts – a fault the present article seeks to amend. The article attempts to fit the theology of Heinrich Klee into a philosophical context and analyze the philosophical principles in his theology. In the conclusions of the article, we highlight the tendencies and features of the use of philosophical concepts characteristic for Klee and emphasize the breadth and variety of philosophical trends he was debating. The article uses specific examples to demonstrate that, while openly criticizing such сelebrities as Hegel, Fichte, Schelling, Schleiermacher, Klee not only embraced their philosophical language but also borrowed their foundational ideas. In the article, it was demonstrated with specific examples that, openly criticizing such authors as Hegel, Fichte, Schelling, Schleiermacher, he perceives not only the philosophical language of these authors, but also borrows their system-forming ideas. At the same time, his theological thought moved within the strict framework of the Catholic concept of the objectivity of divine Revelation and the authority of the Church. The article sheds light not only on some of the philosophical and theological positions of a particular theologian of the early 19th century, but also on the discussion about the degree of philosophical foundation of theological constructions in the modern era as a whole.
21
Li, Jing Wei, and Yong Yi Zhang. "Study on the Dynamic Construction in Zaha Hadid’s Early Works." Applied Mechanics and Materials 357-360 (August 2013): 63–66. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.63.
Full textAbstract:
Zaha Hadid is the world’ s renowned master of architecture, and she was the first and, to date, the only woman who wins the prestigious Pritzker Architectural Prize. This paper analyzes the Dynamic Construction of Zaha Hasid’s early works from three aspects: the influence of Suprematism, the construction elements and method of the Dynamic Construction.
22
Maudlin, Daniel. "Architecture and Identity on the Edge of Empire: The Early Domestic Architecture of Scottish Settlers in Nova Scotia, Canada, 1800–1850." Architectural History 50 (2007): 95–123. http://dx.doi.org/10.1017/s0066622x00002896.
Full textAbstract:
In the early nineteenth century thousands of Scots emigrated to Nova Scotia, Canada, settling there principally in Pictou and Antigonish Counties. This article considers the transformation of the domestic architecture of emigrants from the Scottish Highlands, from earth and random-rubble-walled ‘black houses’ to Classically ornamented and proportioned timber-framed houses. It demonstrates that, in contrast to the transferable traditions of Lowland Scottish settlers, virtually no element of the Scottish Highland vernacular building tradition was established in Nova Scotia, and that Scottish Highland emigrants adopted a new architecture with near total uniformity. These changes in architectural practice are described here in some detail, and then interpreted as indicators of changed social practice within the immigrant Highland community.
23
Emel'yаnov, E. Y., and E. V. Sitnikova. "MODERNISM IN TOMSK WOODEN ARCHITECTURE IN THE EARLY 20th CENTURY." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 1 (February 27, 2019): 114–25. http://dx.doi.org/10.31675/1607-1859-2019-21-1-114-125.
Full textAbstract:
The paper considers the development of modernism in the wooden architecture in the city of Tomsk in the context of national trends. The paper studies design features and specificity of wooden decoration of buildings made in the modern style or with the use of architectural elements performed in accordance with the variation of the neo-Russian style and “northern mo dernity”. The originality of the author's interpretations of style trends and those of the professional architects is described.The relevance of the study is stipulated by preserving wooden buildings in the cities of Russia and Siberia and the loss of valuable decorations of buildings, in particular. Despite the wide range of works involved in studying modernism in the architecture of Russian cities, not all aspects and trends of phenomena observed in Tomsk architecture in the early 20th century have been investigated so far.The purpose of this paper is to study the wooden buildings of Tomsk made in the modern style or with architectural elements of this style.The paper uses the methods of comparative and architectural analyses. It is considered how modernist-style wooden buildings have been designed and built in the in the cities of Siberia, and in particular, the city of Tomsk.It is shown that by the beginning of the 20th century, the folk traditions are combined with the works of professional architects. Wooden buildings, made in the modernist style, are distinguished by complex compositional solutions. This is evident by the mansions designed mainly for a circular view. The attitude to the wood has changed, not only in terms of building and finishing material, but also as a means of a new architectural and artistic embodiment of the independent artist idea.
24
Shumakov, Andrey. "Gabriel's Failed Revolution of 1800: Causes and Prerequisites." Izvestia of Smolensk State University, no. 1(61) (December 15, 2023): 186–203. http://dx.doi.org/10.35785/2072-9464-2023-61-1-186-203.
Full textAbstract:
This work is devoted to a very little-studied topic of the Virginia Slave Conspiracy led by Gabriel and is the first study of this issue in Russian historiography. The present article analyzes in detail the causes and prerequisites of the failed uprising of 1800. At the same time, the author relies on the published materials of the trial and the works of leading Western researchers.
The first part is devoted directly to the history of studying this issue. Using historical-genetic and retrospective methods, the author traces the influence of foreign policy, domestic political, social, economic, demographic, socio-cultural factors on the formation of a socially explosive situation in Virginia by 1800, and
also identifies a number of subjective reasons and prerequisites for a slave conspiracy, such as: motives of personal revenge and banal miscalculations of the authorities who did not take proper measures. At the same time, the main emphasis is on comparing approaches and substantiating the complex of causes and
prerequisites in Western historiography.
As a result, the author comes to the conclusion that in the case of Gabriel's conspiracy, it is not just about a failed uprising, but about the emergence in Virginia of the late XVIII – early XIX centuries of a real revolutionary situation, the formation of which was facilitated by a combination of interrelated factors.
The results of the research conducted in this article can be used in research and teaching activities related to the study of American history and the history of the African-American people (Black History).
25
Trivellato, Francesca. "What Differences Make a Difference? Global History and Microanalysis Revisited." Journal of Early Modern History 27, no. 1-2 (March 24, 2023): 7–31. http://dx.doi.org/10.1163/15700658-bja10057.
Full textAbstract:
Abstract This article discusses a number of scholarly trends that fall under the rubric of global history, with particular regard for those that address the early modern period (c.1400–1800). It stresses the rubric’s lack of coherence from both a methodological and ideological perspective. Most importantly, it revisits longstanding debates about the intersection of microanalysis and global history by assessing landmark works by Italian microhistorians, scholars of the so-called great divergence, and historians of climate and the environment. In so doing, it also asks how recent contributions build on insights that classic studies had already yielded – at least on the margins of the profession – beginning in the 1970s.
26
Rashid, Nafiul, Berken Utku Demirel, Mohanad Odema, and Mohammad Abdullah Al Faruque. "Template Matching Based Early Exit CNN for Energy-efficient Myocardial Infarction Detection on Low-power Wearable Devices." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 6, no. 2 (July 4, 2022): 1–22. http://dx.doi.org/10.1145/3534580.
Full textAbstract:
Myocardial Infarction (MI), also known as heart attack, is a life-threatening form of heart disease that is a leading cause of death worldwide. Its recurrent and silent nature emphasizes the need for continuous monitoring through wearable devices. The wearable device solutions should provide adequate performance while being resource-constrained in terms of power and memory. This paper proposes an MI detection methodology using a Convolutional Neural Network (CNN) that outperforms the state-of-the-art works on wearable devices for two datasets - PTB and PTB-XL, while being energy and memory-efficient. Moreover, we also propose a novel Template Matching based Early Exit (TMEX) CNN architecture that further increases the energy efficiency compared to baseline architecture while maintaining similar performance. Our baseline and TMEX architecture achieve 99.33% and 99.24% accuracy on PTB dataset, whereas on PTB-XL dataset they achieve 84.36% and 84.24% accuracy, respectively. Both architectures are suitable for wearable devices requiring only 20 KB of RAM. Evaluation of real hardware shows that our baseline architecture is 0.6x to 53x more energy-efficient than the state-of-the-art works on wearable devices. Moreover, our TMEX architecture further improves the energy efficiency by 8.12% (PTB) and 6.36% (PTB-XL) while maintaining similar performance as the baseline architecture.
27
Gommans, Jos. "Trade and Civilization around the Bay of Bengal, c. 1650–1800." Itinerario 19, no. 3 (November 1995): 82–108. http://dx.doi.org/10.1017/s0165115300021331.
Full textAbstract:
About seven years ago the journalItinerarioissued a special volume on theAncien Régimein India and Indonesia that carried the papers presented at the third Cambridge-Leiden-Delhi-Yogyakarta conference. The aim of the conference was a comparative one in which state-formation, trading net-works and socio-political aspects of Islam were the major topics. Thumbing through the pages of this issue (while preparing this essay) I had the impression that the results of the conference went beyond its initial comparative goals. Directly or indirectly, several papers stressed that during the early-modern phase India and Indonesia were still part of a cultural continuum that was only gradually broken up by the ongoing process of European expansion during the nineteenth century. It appeared that even after the earlier course of so-called ‘Indianisation’ – a designation that unjustly conveys an Indian ‘otherness’ – India and the Archipelago shared many characteristics, especially in terms of their political and religious orientation. More importantly, these shared traits were shaped by highly mobile groups of traders, pilgrims and courtiers who criss-crossed the Bay of Bengal, traversing both the lands above and below the winds.
28
Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.
Full textAbstract:
В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
29
Ferreiro, Larrie David. "The Aristotelian Heritage in Early Naval Architecture. From the Venice Arsenal to the French Navy, 1500-1700." THEORIA 25, no. 2 (June 16, 2010): 227–41. http://dx.doi.org/10.1387/theoria.617.
Full textAbstract:
This paper examines the Aristotelian roots of the mechanics of naval architecture, beginning with Mechanical Problems, through its various interpretations by Renaissance mathematicians including Vettor Fausto and Galileo at the Venice Arsenal, and culminating in the first synthetic works of naval architecture by the French navy professor Paul Hoste at the end of the seventeenth century.
30
Moyer, Jessica Dvorak. "The Textual Architecture of Empire in Two Early Qing Anthologies." Journal of Chinese Literature and Culture 8, no. 2 (November 1, 2021): 371–98. http://dx.doi.org/10.1215/23290048-9299684.
Full textAbstract:
Abstract During the first half century of the Qing dynasty, Manchu emperors commissioned massive publication projects on the Chinese classics. In early Qing interpretations of classics on the family, negotiations between Manchu and Han family and gender norms furthered the empire-building project. This article compares the spatial form of the Yuding Nei ze yanyi 御定内則衍義 (1656), an expansion of the “Inner Standards” chapter of the Classic of Rites commissioned by the Shunzhi emperor, to that of the Yuding Xiao jing yanyi 御定孝經衍義 (1682), an expansion of the Classic of Filial Piety commissioned by the Kangxi emperor. These works are textual spaces where the cultural and political negotiations of the early Qing empire play out; they use spatial strategies of juxtaposition and hierarchy to balance different messages for different constituencies, creating textual models of empire.
31
Bullen, J. B. "The Romanesque Revival in Britain, 1800–1840: William Gunn, William Whewell, and Edmund Sharpe." Architectural History 47 (2004): 139–58. http://dx.doi.org/10.1017/s0066622x00001738.
Full textAbstract:
The Romanesque revival, like the Gothic revival, was an international movement. It passed easily across national boundaries and its effects were felt throughout Europe and across America. In Britain it was overshadowed by the Gothic revival out of whose historiography it grew, and is easily confused with the Norman revival that enjoyed considerable popularity in the 1830s and 1840s. Both the Norman revival and the study of the Romanesque were the fruit of British antiquarianism, because in the eighteenth and early nineteenth centuries there was in this country a well developed scholarly interest in pre-Gothic, round-arched buildings.
32
Sierra, Nicole. "Landscapes of Postmodernity: Donald Barthelme's Architecture." Pacific Coast Philology 47, no. 1 (January 1, 2012): 75–92. http://dx.doi.org/10.2307/41851035.
Full textAbstract:
ABSTRACT Exploring Donald Barthelme's literary representations of architecture, this essay traces how the author manipulates architectural history as a means of critiquing modernism and contemporary culture. Despite frequent references to Barthelme's familial relationship to architecture, little has been studied about how this intimacy is encoded in his imaginative writings. Focusing on the short story collections Sixty Stories and Forty Stories, this essay considers the usefulness of architecture as an interart analogy for Barthelme's texts. Seizing on the theories of Fredric Jameson, I argue that Barthelme's works highlight popular displeasure with modernist orthodoxy by using strategies similar to early postmodern architecture.
33
Shcherbakova, Anna E. "TO CHILDREN ABOUT ART: DOMESTIC ILLUSTRATED EDITIONS OF THE 1800–1820S." Arts education and science 1, no. 38 (2024): 140–52. http://dx.doi.org/10.36871/hon.202401140.
Full textAbstract:
This article is devoted to the visual language of children’s books and magazines of the first third of the XIXth century on the theme of art. The cultural and historical context of the development of illustrated literature on this topic is considered. The most popular plots and the artistic features of the published images are identified. A comparison is made of illustrations in Russian-language versions of books and foreign originals. The relationship between the publication format and graphic content is determined, as well as the options for interaction between text and picture. The most striking examples of domestic early printed books reflecting the trends of the era under consideration were selected for this work. These are children’s encyclopedias, alphabet books, biographical and game editions. The result of the research is the reconstruction of the situation of illustrating children’s art literature in Russia in the 1800– 1820s. It has been established that children’s book publishing of this period hardly sought to talk about art as such. It often appeared in the content of publications with other goals. Nevertheless, the authors of the books managed to cover certain aspects of art. These include types of art, artistic images, famous artists, as well as technical features of creating works of art.
34
Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.
Full textAbstract:
The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
35
Zavyalova, Anna E. "Early Works of Mstislav Dobuzhinsky and Jugendstil Graphic Art." Observatory of Culture 19, no. 3 (July 5, 2022): 293–300. http://dx.doi.org/10.25281/2072-3156-2022-19-3-293-300.
Full textAbstract:
The article examines a number of M.V. Dobuzhinsky’s graphic works published in “Jester”, “The World of Art” and “Apollo” magazines, in comparison with the works of artists in the Munich magazines “Jugend” and “Simplicissimus”. There are revealed the motifs that influenced Dobuzhinsky’s works: the image of pavement and brickwork, the image of a black cat. The author has found that Dobuzhinsky repeated the drawing of the devil by T.T. Heine in a vignette for the magazine “Golden Fleece”. The scientific novelty of the work lies in the fact that, for the first time, it analyzes M.V. Dobuzhinsky’s graphic works published in Russian magazines of the turn of the century, comparing each of them with drawings with similar motifs in the magazines “Jugend” and “Simplicissimus”. The chronological method of analyzing the works of M.V. Dobuzhnisky’s magazine graphics made it possible to reveal the genesis of the image of the city, as well as to clarify the beginning of his appeal to the theme of classicism architecture. In addition, the article introduces into scientific circulation Dobuzhnisky’s drawings for the Petersburg satirical magazine “Jester”. Their chronological analysis in comparison with similar works from the Munich satirical magazines reveals the genesis of the artist’s mastering of Jugendstil drawings in the first year of his autonomous activity. The results obtained demonstrate the influence of woodcuts by Albrecht Dürer on the formation of a unique line in Dobuzhinsky’s drawings. The author concludes that that due to the artist’s appeal to Dürer’s woodcuts, as well as to engravings by Japanese masters, M.V. Dobuzhinsky followed the same path as the masters of the Munich magazine graphics, having developed by the mid-1900s their achievements to a new level in his works.
36
Sdrolia, Stavroula. "Habitation in the region of Mount Ossa during the Early Byzantine period." Archaeological Reports 62 (November 2016): 125–32. http://dx.doi.org/10.1017/s0570608416000119.
Full textAbstract:
Archaeological works undertaken in the last decade – excavation, survey and conservation – prompted by major public works, combined with synthetic studies, have enhanced our knowledge of Thessaly in the Byzantine period. Key areas where our understanding has increased significantly include urban and rural fortifications, the Late Antique phases of occupation in Larisa and the harbour at Phthiotic Thebes (modern Nea Anchialos), religious and secular architecture, rural villas, industrial installations and the monastic community on Mount Ossa (‘Mountain of the Cells’).This paper focuses on the region of Mount Ossa (later Kissavos), where the data resulting from recent investigations have revealed a vibrant Late Antique phase, characterized by dense habitation on the slopes of the mountain (Map 9).
37
Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.
Full textAbstract:
The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).
38
Rybalkin, Е. V. "Rural architecture of e left bank of Saratov Volga region (interchange of different cultures) (Saratov)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 25, no. 6 (December 26, 2023): 68–77. http://dx.doi.org/10.31675/1607-1859-2023-25-6-68-77.
Full textAbstract:
The article examines the historical rural architecture on the territory of the modern Saratov region using the example of a peasant estate. Two neighboring groups of settlers are identified, who made up the main population of the left bank in the e 18th and early 20th centuries. Similarities and differences are indicated for the structure of peasant house. The principles of formation and places of distribution of various decorative finishing techniques are identified.Purpose: The aim of this work is to identify ways and means of forming traditional architecture on the left bank of the Saratov Volga region.Design/methodology/approach: Field research, the analysis of works of historians and local historians, critical analysis of archive a documents and literature review.Practical implications: Identification of exclusivity of the historically developed architecture of villages. Information obtained identifies the architecture of the Saratov Volga region among the diversity of architecture of the Lower Volga regions in architectural and ethnographic aspects.Value: The study of the regional architecture formation. The study of works of historians and local historians.
39
Girard, Philip. "Themes and Variations in Early Canadian Legal Culture: Beamish Murdoch and hisEpitome of the Laws of Nova-Scotia." Law and History Review 11, no. 1 (1993): 101–44. http://dx.doi.org/10.2307/743601.
Full textAbstract:
Beamish Murdoch (1800–76) was a young man when the first of the four volumes of hisEpitome of the Laws of Nova-Scotiarolled off Joseph Howe's press at Halifax in the spring of 1832. He was an old man when the first installment of his three-volumeHistory of Nova-Scotia, or Acadieappeared under James Barnes's imprint in the spring of 1865. These two works have received surprisingly disparate attention in the century since Murdoch's death. Today it is Murdoch the historian who is well known: No treatment of nineteenth-century Canadian historiography would omit reference to hisHistory. Murdoch's contributions to literary and political life, as editor of theAcadian Magazineand member of the Nova Scotia House of Assembly from 1826 to 1830, have also attracted attention. Murdoch the lawyer and legal treatise-writer, by contrast, is virtually unknown in both professional and legal academic circles, even in his home province. Until recently the Epitome has attracted virtually no scholarly attention of any kind.
40
Kozyrenko, Nataliya Efremovna. "Russian Harbin: architecture of the mansion of G. I. Kroll." Урбанистика, no. 3 (March 2020): 26–36. http://dx.doi.org/10.7256/2310-8673.2020.3.33397.
Full textAbstract:
The subject of this research is the architectural and style peculiarities of the mansion of G. I. Kroll. The object is the Harbin architectural landmarks built in the early XX century in the New City area. Presently the are in a critical condition. Their physical state testifies to the upcoming demolition of the unique objects of Russian Harbin. The author examines the historical aspect of construction and functionality of the objects, architectural specificities, and current physical state of the architectural landmarks. Special attention is paid to the architectural-planning peculiarities of the constructs: pattern, decorative elements, style. The main conclusion of the conducted research consists in the need for urgent restoration works of the structural elements and façade reconstruction of the landmarks. Layout of the two objects, interiors of all indoor spaces, and surrounding environment are subject to repair. These works would take place in the context of the new functionality of the objects – “Russian Harbin” hotel. Such approach would allow to not only preserve the objects of Russian architecture, but also reproduce the distinct environment of Harbin of the early XX century. The scientific novelty lies in conducting an on-site inspection of the constructs to find damages in structural elements, do measurements, develop reconstruction projects based on the results of determined architectural and style peculiarities of the landmarks.
41
MacKay, James S. "The Second Repeat in Beethoven's Sonata-Form Movements: Tonal, Formal and Motivic Strategies." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 1–41. http://dx.doi.org/10.11116/mta.8.1.1.
Full textAbstract:
Around the middle of the Classical period, there was a paradigm shift concerning sectional repeats in sonata-form movements. Whereas previously the repeat of both halves (exposition and development/recapitulation) was virtually pro forma, by the late 1700s composers typically only indicated the first repeat. When composers began to indicate the second repeat infrequently, this decision took on greater musical significance.<br/> Whereas Haydn and Mozart indicated the second repeat frequently, even in their late works, Beethoven indicated this repeat rarely (nineteen times in works with opus numbers). This infrequency is noteworthy and prompts the question: Are there issues of formal balance or tonal/motivic connections that would be lost if performers omitted this repeat? I will examine these works in depth, noting similarities in formal balance, motivic content, tonal procedures, and large-scale design. Although many of these movements date from Beethoven's early period, he also indicated the second repeat six times after 1800, including the finale of his last quartet, Op. 135. We can conclude that repeating a sonata-form movement's second half remained an option for Beethoven late in life, even after he had ostensibly broken definitively with the formal conventions of his Classical predecessors.
42
UYSAL BİLGE, Fulay. "IDEOLOGY – ARCHITECTURE RELATIONSHIP: NAZI ARCHITECTURE." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 25 (2022): 0. http://dx.doi.org/10.17365/tmd.2022.turkey.25.05.
Full textAbstract:
Hitler’s Germany witnessed the most influential political power activities in world history before and during the Second World War. Germany’s collapse both politically and economically in the early 1930s enabled Hitler to take action. This structure, which relied on the new political stance behind it, has ensured its legitimacy and ideology with propaganda works. Nazis used the social power of architecture as a tool to support the new order that they were establishing. Aim: This study aims to investigate the effects on the forming and shaping of the city and the designed buildings, planned according to the Nazi ideology fundamentals. Method: In the article, concepts of ideology and propaganda are discussed. The propaganda methods used during the Hitler period are briefly explained. Through the relationship between ideology and architecture, the reflections of ideology on Nazi architecture have been determined. By evaluating the relationship of Hitler's architectural preferences with ideology, it was determined how it was treated as a propaganda tool. Findings: It was determined that the effects of Hitler's ideology on the shaping of Nazi architecture had an independent style of national socialism and classicism established on European typology and morphology. The relationship between the monumental architecture utilized in Nazi Germany and the styles in the history of architecture was detected. Although it is impossible to classify Hitler's architectural preferences under a single title and to say that the Third Reich has an official architectural style, it was determined that Nazi Architecture, founded on the neoclassical basis, was developed and changed around this framework. Conclusion: For architecture to thrive, it needs an innovative, unrestricted and creative environment rather than a repressive one. Politics is expected to be supportive rather than conflicting with architecture. Instead of imitation, supporting historical searches with creativity will develop architecture.
43
Белоножкин, А. Е. "Church Architecture in the Creative Heritage of Marian Peretyatkovich." Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 115–33. http://dx.doi.org/10.62625/2782-1889.2024.68.68.009.
Full textAbstract:
В статье впервые как самостоятельное явление рассматриваются работы Мариана Мариановича Перетятковича (1872−1916) в сфере церковного зодчества. Делается вывод о значимости произведений мастера как для его собственного творчества, так и для церковной архитектуры России конца XIX – начала XX в. The article for the first time, as an independent phenomenon, examines the work of Marian Peretyatkovich (1872−1916) in the field of church architecture. The conclusion is made about the significance of the master’s works both for his own creativity and for the church architecture of Russia of the late 19th – early 20th century.
44
de Vos, Machteld. "In Between Description and Prescription: Analysing Metalanguage in Normative Works on Dutch 1550–1650." Languages 7, no. 2 (April 6, 2022): 89. http://dx.doi.org/10.3390/languages7020089.
Full textAbstract:
This paper is the first to perform a systematic quantitative analysis of the arguments used to motivate selections in grammatical entries from normative works on Standard Dutch written between ca. 1550 and 1650. Thus, it aims to obtain insight into what language ideologies were characteristic of this early modern period, what these reveal about how Standard Dutch took shape in its initiating phase, and what the differences are between the codification of Dutch in the early modern period (16th/17th century) and the (post)modern period (20th/21st century; analysed in earlier studies). Although certain issues within the annotation method need to be addressed in future research, the results indicate that the following principles were particularly characteristic of the early modern period: for Dutch to be a good language in terms of its grammar, it ought to differentiate, display consistency, mirror Latin and Greek, and reflect the use of certain authorities. These linguistic principles form the roots of the part of the Dutch standard language ideology (SLI; which, as previous research has shown, came into existence in the decades around 1800) that connects ‘language’ with ‘norm’ and that bestows value on the language’s regularity. However, the additional connection to social identity, that forms a second and crucial part of the SLI, played no major part in the arguments used in this time period yet. Moreover, two important differences between the early modern period and the (post)modern period were found: (1) the latter period showed a higher degree of consensus and therefore of canonisation of the normative discourse than the former period; (2) the nature of the metalanguage used in normative publications was explicitly prescriptive in the later period but mostly ostensibly descriptive/implicitly prescriptive in the earlier period. This indicates that, in terms of the metalanguage used, the normative discourse in the formative period of Standard Dutch was in between description and prescription.
45
Bertash, Alexander. "Alexander Nevsky cathedral in Tallinn as a monument of Russian style in Estonia." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 95–113. http://dx.doi.org/10.15382/sturv202248.95-113.
Full textAbstract:
The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predominant medieval German architecture was the Estonian governor, Prince S.V.Shakhovskoy, through whose zeal the construction acquired all-Russian significance. The cathedral is one of the most striking works of the Moscow-Yaroslavl version of the Russian style within the boundaries of the former Russian Empire and the most important in the work of the outstanding master of this style, architect M.T. Preobrazhensky. The cathedral, which has never been devastated, despite attempts to close and rebuild it in the 1920s-1940s, still preserves unique Russian-style interiors in terms of safety and integrity. They allow us to present the style of works known in the early twentieth century masters: A.N.Novoskoltsev, Abrosimovs; most of their other works were destroyed during the anti-church persecution in the USSR. The topic of the article is related to the author's previous publications about the architecture of the Puhtitsa Holy Dormition Monastery and Orthodox church building in Estonia.
46
Polyakov, E. N., and O. P. Polyakova. "Life in Switzerland of Charles-Édouard Jeanneret known as Le Corbusier." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 3 (June 28, 2021): 9–20. http://dx.doi.org/10.31675/1607-1859-2021-23-3-9-20.
Full textAbstract:
The article is devoted to the early design and social activities of the extraordinary French architect Charles-Édouard Jeanneret known as Le Corbusier (1887–1965), who is considered to be one of the founders of European Functionalism. His first design and pictorial works are considered together with his trips to Western Europe and the Middle East. This experience helped the architect to create his first conceptual versions and models of the modern architecture, which will be described in our further works.
47
Kasatkin, Konstantin. "In Search of One’s Self: Russian Travelers in the Balkans in 1800–1830s." Russian History 48, no. 1 (January 26, 2022): 61–88. http://dx.doi.org/10.30965/18763316-12340023.
Full textAbstract:
Abstract In this paper, we are going to demonstrate that the writings of Russian travelers of the early 19th century laid the foundation of a discourse of Slavism. The travelers stopped perceiving the Balkans as part of the Near East and began considering them as ‘Ours’. This allowed the Russians to assert their identity within the boundaries of the European community while simultaneously separating themselves from the Roman-Germanic “West”. We examined four different types of descriptions of the Balkans by Russian travelers of the 1800–1830s. The authors’ approaches to these narratives were either orientalist or Slavic in nature. Works written in the framework of Orientalism are often characterized by the view of the Balkans as the land of the past, and travels perceived the Balkans as the antithesis of Russia, which they saw as being part of the West. Discourse of Slavism was fundamentally different from Orientalism. Firstly, it replaced the East-West binary relationship with a West-Russia-East triptych. Secondly, it sought to equate Russia and the Slavs. The travelers of the 3rd group were the first to discover a way to reconcile with the “backwards” past within the West-Russia-East triptych. Fourthly, Venelin verbalized a new paradigm in Russia’s description of the Balkans. He was the first to consider Russia as the center of the Slavic world, as opposed to the wild European periphery.
48
Шкотов, С. С. "Architecture of Temples at Higher Educational Institutions of St Petersburg of the Late 20th – Early 21st Century (Free-Standing Temples)." Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 202–17. http://dx.doi.org/10.62625/2782-1889.2024.68.68.014.
Full textAbstract:
В статье рассмотрена архитектура современных отдельно стоящих храмов при высших учебных заведениях Санкт-Петербурга, как осуществленных, так и не осуществленных. Проанализированы их стилевые особенности и объемно-пространственное решение. На основании анализа отмечены произведения, представляющие важное значение для современной церковной архитектуры. The article examines the architecture of modern free-standing temples at higher educational institutions of St Petersburg, both implemented and not implemented. Their stylistic features and spatial solution are analyzed. Based on the analysis, the works of great importance for modern church architecture are marked.
49
Makała, Rafał. "Nawiązania do tradycji nowożytnej w ceglanej architekturze wczesnomodernistycznej północnych Niemiec." Porta Aurea, no. 17 (November 27, 2018): 94–111. http://dx.doi.org/10.26881/porta.2018.17.04.
Full textAbstract:
One of the manifestations of the so called ‘conservative modernism’ was the reference to the brick building tradition in Northern Germany. The trend was primarily associated with the activities of Fritz Schumacher and Fritz Höger in Hamburg and Bremen in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade of the 20th century and is associated with the attempts to shape North German patriotism. Just as in the art of neo-Gothic, brick architecture of ‘conservative modernism’ was meant to express the ‘North German Identity’, and in fact help in the creation of identities of the Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of the Hanseatic League as a prefiguration of the New Germany and their power in maritime trade. Early-modern architecture continued to refer to the art of the past. However, the way of referring to the past changed: with only few quotes from the old art, with a considerable simplification of historical styles’ and so did the historical point of reference. In addition, the modernists became more interested in the brick building of the 17th and 18th centuries, the times of the Baroque and early Neoclassicism. Tis is evident in the works of the most important architects of North German modernism, including Fritz Höger, Fritz Schumacher, or Bruno Möhring but also works of lesser-known, though certainly interesting artists like Johann Garlef, Erich Blunck or Eugen Prinz. The interest of the North German architects of early modernism in brick construction is an element of a wider process that had been thriving in Northern Germany since the early 1900s. Interestingly enough, this process was equally intense in great artistic centres (Hamburg and Bremen) as well as in less-significant cities which were looking for their identity or tried to recreate it, as was the case in Kiel, Lubec or Szczecin. Tis paper is an attempt to show the evolution of this architecture and its most important features. The examples have been selected to show the most important characteristics of this architecture and its geographical range.
50
Klyn, Dan. "A Comparison in Pursuit of “The Masterworks of Information Architecture”: Learning from James Joyce's Ulysses and Richard Saul Wurman's The City, Form and Intent." Bulletin of the Association for Information Science and Technology 42, no. 5 (June 2016): 27–37. http://dx.doi.org/10.1002/bul2.2016.1720420508.
Full textAbstract:
EDITOR'S SUMMARYIn a search for classic works on information architecture, Joyce's Ulysses and Richard Saul Wurman's The City, Form and Intent are each compared internally across different versions and considered in terms of content, context and user. Each author modified readers' experiences through changes in the content and physical form of their works. Wurman's 1963 work, a loose‐leaf collection reflecting architecture through clay models of cities, was redone in 1974 with the same content but different physical presentation. Joyce's Ulysses was marked by variations across versions, with omissions, additions and typographic errors carried inconsistently through editions, leaving the author's intended meaning ambiguous. The context of Wurman's work was the very early stage in the author's career. The context of production of Ulysses involved composition, editing, publishing, correction and republishing across multiple channels, making consideration of the totality of the editions key to understanding the information architecture of the work. Users of Wurman's original print work exalted it, while users of a 2014 spin‐off web project see it from a different perspective. Similarly, the user experience for Ulysses varies widely, depending largely on which edition is read. The analysis and internal comparison of the two works highlight the importance of both content knowledge and technical skill throughout any information architecture project. Whether they will serve as masterworks for the field remains an open question.