Journal articles: 'Baroque's classicism'

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Botica, Dubravka, and Iva Barković. "Još jednom „O baroknom klasicizmu u Pogančecu“." Peristil 61 (2018): 115–27. http://dx.doi.org/10.17685/peristil.61.7.

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Watts, Derek. "La Rochefoucauld between Baroque and Classicism." Seventeenth-Century French Studies 16, no. 1 (January 1994): 65–81. http://dx.doi.org/10.1179/c17.1994.16.1.65.

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Biet, Christian. "Du national-classicisme au baroco-baroque." Littératures classiques N° 76, no. 3 (2011): 245. http://dx.doi.org/10.3917/licla.076.0245.

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Khazova, Natalia V. "Formation of Alexandre Benois’s Views on Saint Petersburg Architecture of the 18th and the Early 19th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 72–78. http://dx.doi.org/10.25281/2072-3156-2014-0-5-72-78.

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Traces the emergence of Alexandre Benois as a theorist of Saint Petersburg Baroque and Classicism architecture. The author analyses the role of the artist’s family and the impact of theatre and music on elaboration of Benois’s approaches to architecture.

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STREBKOVA, K. A. "COLORISTIC DESIGN OF URBAN SPACE IN DIFFERENT HISTORIC PERIODS." Urban construction and architecture 1, no. 3 (September 15, 2011): 62–65. http://dx.doi.org/10.17673/vestnik.2011.03.14.

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The article covers various coloristic approaches. It shows changes in color design of urban spaces during different historic periods. It reveals special character of color architectural environment of such historic periods as the Ancient World, the Middle Ages, Renaissance, Baroque, Classicism.

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Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master." Filosofska dumka (Philosophical Thought) -, no. 2 (June 12, 2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.

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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

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Shvidkovsky, Dmitry. "The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (September 10, 2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-47-60.

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The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.

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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.

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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.

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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic

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Garaz, Oleg. "Do Androids Dream of Electric Sheep? or about The Sense of Cultural Nostalgia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 79–87. http://dx.doi.org/10.24193/subbmusica.2020.2.05.

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"The evolution of the European musical culture took place in a flagrant contradiction with the traditional image of a simple succession of stylistic stages. Even if the linearity of the consecution of Antiquity, Middle Ages, Renaissance, Baroque, Viennese Classicism, Romanticism, Modernism and Postmodernism is only too obvious, the nature and logic of the transformations are related to the determining referentiality of the syncretic principle. But, unlike the Enlightenment conception of linear progress, applicable rather to the technological and, in general, scientific thinking, musical art has evolved in mirror symmetry to a cultural history that was separated into two great “ages”, following Eliade's idea of the sacred-profane dichotomy. Around the year 1600, the order of the constituents of the syncretic principle, which are three in number: the Sacred (the tribal societies), the mythological (the Greek and Roman Antiquities) and the ritualistic (the Middle Ages and the Renaissance), was reversed – the ritualistic and the mythological (the Baroque, the Viennese classicism and Romanticism) and the Sacred (the first modernism). In postmodernity, the syncretic principle itself is “recycled” and thus the cycle of cultural evolution closes by returning (in an obviously distorted manner) to the original principle. Keywords: syncretism, Sacred, mythological, ritualistic, three modernisms and three modernities."

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Mocevičius, Albinas. "KLASICISTINIO STILIAUS PARKŲ MENO TENDENCIJOS BEI RAIDA EUROPOJE IR LIETUVOJE." JOURNAL OF ARCHITECTURE AND URBANISM 33, no. 3 (September 30, 2009): 173–82. http://dx.doi.org/10.3846/13921630.2009.33.173-182.

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This paper discusses the development and tendencies of classicism-style park art at the end of the 17th and the beginning of the 19th c in Europe and Lithuania. Major attention is paid to general reasons of the appearance of classicism style, its special features and changes which were visible after contradictorily estimated epoch of baroque. On the basis of general features and planned and spatial structure of park ensembles in classicism of that time in such European countries as France, England, Germany, Russia and Poland, the author attempts to find correlations and special features in Lithuanian parks. The author reviews theoretical and practical works of European specialists in landscape and natural sciences, which were important in developing parks of a new style. Also, attention is drawn to some terms in Lithuanian literature which describe parks in classicism style and which are used unprecisely. A short summary of the most important created and replanned classicism-style parks in Lithuania is given. Santrauka Straipsnyje trumpai aptariama klasicistinio stiliaus parkų meno raida bei tendencijos XVII a. pab. – XIX a. pr. Europoje ir Lietuvoje. Didžiausias dėmesys kreipiamas į klasicistinio stiliaus bendrąsias atsiradimo priežastis, raidos ypatumus ir pokyčius, kurie buvo juntami po prieštaringai vertinamos Baroko epochos. Remiantis to meto Europos valstybėse (Prancūzijoje, Anglijoje, Vokietijoje, Rusijoje ir Lenkijoje) sukurtų klasicistinio stiliaus parkų ansamblių bendrais bruožais, planine ir erdvine struktūra, bandoma surasti sąsajų ir išskirtinumo požymių Lietuvos parkuose. Trumpai apžvelgiami Europos šalių kraštovaizdžio ir gamtos mokslų specialistų teoriniai bei praktiniai darbai, kurie buvo reikšmingi kuriant naujojo stiliaus parkus. Taip pat straipsnyje atkreipiamas dėmesys į ne visai tiksliai vartojamus terminus lietuviškoje literatūroje, apibūdinančius klasicistinio stiliaus parkus, pateikiama trumpa santrauka apie reikšmingiausius sukurtus ir perplanuotus Lietuvos klasicistinio stiliaus parkus.

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Vaškelienė, Asta. "Literary Theory in the Eighteenth-Century Grand Duchy of Lithuania: From the Classical Tradition to Classicism." Interlitteraria 23, no. 2 (January 3, 2019): 295–311. http://dx.doi.org/10.12697/il.2018.23.2.7.

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The article is aimed at introducing the peculiarities of the literary theory in the eighteenth-century Grand Duchy of Lithuania. To show these peculiarities, it begins with an overview of the main rhetoric and poetics of the Renaissance and Baroque periods, which illustrate the theoretical thought of the late sixteenth and the seventeenth centuries. The theses set out in these works had been taken up, developed, and modified up until the middle of the eighteenth century, which signalled the beginning of the Enlightenment and changes in literary aesthetics. The majority of the works on poetics and rhetoric of the period discussed were written by French and German Jesuits (only very few were penned by the Protestants or the Piarists) and were used in the colleges of the Grand Duchy of Lithuania as textbooks intended for the classes of poetics and rhetoric. These works indicate a lively reception of the European literary theory. Up until the eighteenth century, the book on the Renaissance poetics Poetices libri septem (1561) by Julius Caesar Scaliger retained the status of an underlying work in this field. In it, the author summed up the literary theory absorbed from ancient authors and systematized the genres of poetry, the types of its style, and the metres. Scaliger’s works, which had an impact on the European literary theory of the Baroque and Renaissance, were directly taken up by other authors and modified to a greater or lesser extent. They were easily recognisable in eighteenth-century works on poetics and rhetoric. In the seventeenth-century Grand Duchy of Lithuania, literary theory was shaped by the works of Cyprianus Soarius, Nicolaus Caussinus, François Antoine Pomey, Charles Paiot, and Jacob Pontanus. Poetics of Mathias Casimirus Sarbievius played an important role in the development of Baroque literary theory. Although it was not published and spread only in the form of manuscript notes, it was widely known in the period’s academic environment both in the Grand Duchy of Lithuania and in Western Europe. On the one hand, it was a certain way of conveying Scaliger’s theory, yet on the other hand, thanks to an apt and accurate definition of the Baroque style, this work should be treated as one of the most significant Baroque poetics of conceit. Jacob Masen, another Baroque theorist, also markedly contributed to the theoretical development of the epigrammatic genre and ‘wit’ (argutia), which is held on a par with conceit. The textbooks used in the Jesuit colleges of the Grand Duchy of Lithuania were not authored exclusively by the Jesuits. Mention should be made of the works on rhetoric by the Dutch Protestant author Gerardus Vossius. The rhetoric of Michał Kraus was very popular in the Piarist teaching system, and, as shown by the provenances, it was included in the syllabi of some of the Jesuit colleges. The textbooks by Joseph de Jouvancy and Dominique de Colonia represent the genre theory of the eighteenth century. Chronologically, these are the latest theoretical works of the eighteenth century that reflect the Baroque conception of the literary theory. They were highly appreciated and even used at the schools of the Board of Education. The educational reform that was launched in the middle of the eighteenth century nurtured a new approach towards the literary taste and the expression of thought. These changes are reflected in the work O wymowie i poezji (On Rhetoric and Poetry) by the Piarist monk Filip Nereusz Golański, which was the first normative poetics of the Enlightenment written in a national language (Polish in this particular case).

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Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.

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The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representatives of Western European polyphonic school, and came very close to the theory of temperatio, so well presented in Bach’s art. Supporting Kyiv concept of education at Slavonic, Latin and Greek schools, which involved a combination of eastern and western elements of education, national and European cultural and educational traditions, M. Dyletskyi formulated the aesthetic principles of choral art, revealed progressive pedagogical ideas. Age of Baroque and Enlightenment was the epoch of Great Travelers and symbolic meetings. In search of truth and artistic ideal philosophers, artists, musicians traveled in Europe. Various meetings took place — real and unreal, sometimes at an interval of a century, but they determined “symbolic insight into the future”. An important meeting took place at the end of the 18th century in Vienna. The Ukrainians met a famous countryman, composer D. Bortnyanskyi. Since then, composer’s music became a model of his proficiency, the embodiment of the Ukrainians’ spiritual outlook. He was called “the Ukrainian Mozart”, “Our Palestrina”, and he became a kind of a “bridge” between the European polyphonists and “classicists”, and also composers–romanticists, who also were influenced by his works. Age of Baroque and classicism, “Golden Age” in the Ukrainian music culture has acquired the status of “epic time” aimed at eternity, when a relatively short period of time defined the future way for historical development. The presence of such parallels and “meetings in history”, actualizing the past at the request of the future, defines metahistorical nature of history of music education in Ukraine.

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Di Mambro, Rebecca. "James Smith at Hamilton: a Study in Scottish Classicism." Architectural History 55 (2012): 111–43. http://dx.doi.org/10.1017/s0066622x00000071.

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Despite the revived attention that James Smith's (c. 1645–1731) career has received since Howard Colvin's 1974 study of his Palladian drawings, his life and his work remain stubbornly enigmatic. An architect working in late seventeenth-century Scotland, Smith was a member of the Scots College of Rome before renouncing his Catholic faith and devoting himself to the creation of some of the country's most important architecture of the post-Restoration period. A scarcity of concrete evidence about his European architectural training contributes to his mystique, though progressive movements in the field of Scottish architectural history indicate that this dearth will be rectified in due course. Still, the extraordinarily varied character of his known works refutes easy categorization into the simplified brackets of ‘Baroque’, ‘Palladian’, or the more contentious ‘Neoclassical’, and so makes a coherent assessment of style difficult.

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Kapp, Volker. "Baroque et classicisme dans la philologie romane de langue allemande." Dix-septième siècle 254, no. 1 (2012): 109. http://dx.doi.org/10.3917/dss.121.0109.

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이은주. "L’architecture française au XVIIe siècle - le baroque et le classicisme -." Etudes de la Culture Francaise et de Arts en France 41, no. ll (August 2012): 355–84. http://dx.doi.org/10.21651/cfaf.2012.41..355.

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Nam Youn KIM. "Les deux pȏles de l’esthétique: le classicisme et le baroque." Etudes de la Culture Francaise et de Arts en France 57, no. ll (August 2016): 79–102. http://dx.doi.org/10.21651/cfaf.2016.87..79.

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Seweryn, Agata. "„WYJRZAŁEM W ZA-ŚWIAT”. KILKA UWAG O TRADYCJI ROZMÓW ZMARŁYCH W TWÓRCZOŚCI CYPRIANA NORWIDA." Colloquia Litteraria 20, no. 1 (February 8, 2017): 195. http://dx.doi.org/10.21697/cl.2016.1.13.

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“Wyjrzałem w za-świat” [I Glanced into the Nether-world]. Some Remarks on the Tradition of the Conversations among the Dead in Cyprian Norwid’s Works The study focuses on the tradition of the conversations among the dead in Cyprian Norwid’s works, especially in the poem Vendôme. While noting Norwid’s transformations of classical and classicist conventions, the author points to the mannerist and baroque contexts, and on the other hand, to ekphrastic qualities of Norwid’s literary imagination.

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정연복. "Baroque et Classicisme dans la peinture française du XVIIe siècle I." Etudes de la Culture Francaise et de Arts en France 23, no. ll (February 2008): 555–86. http://dx.doi.org/10.21651/cfaf.2008.23..555.

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Hall, H. Gaston, and Alexandre Cioranescu. "Le Masque et le visage: Du baroque espagnol au classicisme francais." Modern Language Review 80, no. 2 (April 1985): 462. http://dx.doi.org/10.2307/3728716.

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Remizova, Olena, and Natalya Novak. "Dialogue of epochs in postmodern urban planning concepts of the late ХХth and early ХХIst centuries." Budownictwo i Architektura 17, no. 4 (February 28, 2019): 067–75. http://dx.doi.org/10.24358/bud-arch_18_174_07.

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The postmodern architecture of the last third of the XX century saw a steady tendency of appealing to classical heritage aimed at combining modern technologies and historical associations with classical architecture. The work considers postmodern urban planning concepts of the late XX-the beginning of ХХI centuries. Methods of interpreting the order system in the architecture of postmodernism are analyzed by comparing such theoretical concepts as R. Bofi ll›s industrial classicism, the new urbanism of L. and R. Krier, the theory of the city by Aldo Rossi. Architects postmodernists searching for sense and architectural language began to address to the historical past, using signs and images of classical architecture. Leaders of postmodern movement, trying to return to architecture the «eternal values» lost by modernism, opened a way for new creative searches and transformation of the order system elements. Its representatives were attracted by the «double code» of the order architecture, which allowed to solve complex town-planning problems. Postmodernism declared the idea of «architecture parlante». The notion of «postmodern classicism» disguised the compositional search for dialogue with any classical epoch – antiquity, renaissance, baroque, classicism itself. The order language of these epochs, possessing a tremendous potential of utterance, allowed the architect to create all the new meanings and texts. The article discusses the change of semantic meanings occurring in modern urbanism, the interpretation of order compositions, the notion of «order tradition» and the expansion of the semantics of the order system in historical and cultural context. The article shows that the theory of postmodernism actualized the notion of «order tradition» and expanded the semantics of the order system by its application in modern city planning concepts.

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Weststeijn, Willem G. "A Russian View of European Literary History." European Review 21, no. 2 (April 30, 2013): 263–71. http://dx.doi.org/10.1017/s1062798712000415.

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This article discusses the theory of the Russian medievalist Dmitry Likhachov regarding the evolution of European literature. In the history of European literature, Likhachov distinguishes a number of so-called ‘megaperiods’, which each consist of a ‘primary’ and a ‘secondary’ cultural period or style. The megaperiods are: Romanesque–Gothic, Renaissance–Baroque, Classicism–Romanticism, Realism–Symbolism, Modernism–Postmodernism. Primary periods generally favour ‘realism’ and are connected with a definite ideology; secondary periods tend to decorativeness, irrationalism and various, even opposite, ideologies. The change from a primary to a secondary period is gradual, from a secondary to a primary one rather sudden. The theory makes us aware of the existence of a kind of ‘rhythm’ in the development of European literature and culture.

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Komenda, Olha. "Extensive and Intensive Manifestations of Activity Universalism of the Сreative Personality: Renaissance, Baroque, Classicism." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 3, no. 2 (December 18, 2020): 118–31. http://dx.doi.org/10.31866/2616-7581.3.2.2020.219157.

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Holcombe, William Daniel. "Salvador Dalí's Everyman: Renaissance and Baroque Classicism in Don Quixote and the Windmills (1946)." Cervantes: Bulletin of the Cervantes Society of America 37, no. 1 (2017): 95–123. http://dx.doi.org/10.1353/cer.2017.0006.

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ALSDORF, BRIDGET. "Pleasure's Poise: Classicism and Baroque Allegory in Poussin's ‘Dance to the Music of Time’." Seventeenth Century 23, no. 2 (September 2008): 198–224. http://dx.doi.org/10.1080/0268117x.2008.10555611.

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Морозов, Валерий. "СТРОГИЙ СТИЛЬ ВИЛЕНСКОГО КЛАССИЦИЗМА." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 1 (March 31, 2010): 5–16. http://dx.doi.org/10.3846/tpa.2010.01.

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“Strong” style of Vilnius classicism was a great phenomenon in the East European architecture and existed side by side with the baroque classicism or empire style or “rational” style. The paper determines the range of buildings, names of creators, characteristic features, peculiarities and significance of Vilnius classicism. It provides a deeper knowledge of the works of the famous Lithuanian architect V. Stuoka-Gucevičius. It is proved that in 1780 the project of the catholic Bishop’s Palace and reconstruction of the Carmelite’s Church in Mogiliev have been carried out by this architect. Spreading of Vilnius classicism “strong” style in the Belarussian and Lithuanian architecture was determined. The patriotic domestic nobility chose this style consciously because of their demonstration of the “knight” behavior in everyday life. Thanks to this style a temple appearance of a house was created by a simple space organization and grand classic portico on the main facade. Резюме Строгий стиль виленского классицизма представляет собой крупное явление в архитектуре Восточной Европы наряду с барочным классицизмом, ампиром и рациональным направлением. В статье определен круг построек, имена создателей, характерные черты, особенности и значение виленского классицизма. Значительно расширены сведения о творчестве выдающегося литовского архитектора Л. Стуоки-Гуцявичюса. Доказано, что в 1780-е годы по его проектам было осуществлено строительство дворца католического архиепископа и перестройка костела кармелитов в Могилеве. Показан характер распространения строгого стиля виленского классицизма в архитектуре белорусских и литовских земель. Строгий стиль сознательно выбирало для своих построек патриотически настроенное местное дворянство, демонстрировавшее в повседневной жизни спартанское «рыцарское» поведение. Благодаря этому был создан облик «храмовидного» усадебного дома с простым объемным построением и величественным классицистическим портиком на главном фасаде. Santrauka Griežtas Vilniaus klasicizmo stilius – tai žymus Rytų Europos architektūros reiškinys šalia barokinio klasicizmo, ampiro ir racionalumo krypties. Straipsnyje minimi Vilniaus klasicizmo stiliaus architektai, apibūdinti šio stiliaus pastatai, pateikti jo svarbiausi bruožai ir reikšmė. Praplėstos žinios apie žymaus lietuvių architekto L. Stuokos-Gucevičiaus kūrybą. Įrodyta, kad pagal jo projektus nuo 1780 m. buvo pastatyti arkivyskupo rūmai ir perstatyta karmelitų bažnyčia Mogiliove. Apibūdinta Vilniaus griežtojo klasicizmo stiliaus įtaka Baltarusijos ir Lietuvos žemių architektūrai. Ši stilių savo pastatams sąmoningai rinkdavo vietiniai bajorai patriotai. Buvo sukurtas sodybos rūmų, primenančių šventovę, vaizdas.

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Rakityanska, Liudmyla. "THE HISTORY OF WORLD MUSIC ART WITHIN THE CONTEXT OF RELATIONSHIP BETWEEN THE EMOTIONAL AND THE RATIONAL." Osvitolohiya, no. 9 (2020): 21–28. http://dx.doi.org/10.28925/2226-3012.2020.9.3.

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The article presents the results of the analysis of musical art history in the context of the relationship between its emotional and rational constituents. The author traces the overall evolution of the world music, which in itself is a process of a complex dialectical relationship of the emotional and the rational, and which has been conditioned by the dominant philosophical worldview of a specific historical epoch, that determined the variability of artistic priorities, their emotional and intellectual balance or otherwise demarcating them by the dominating rational-mediated or emotional-sensory constituent. The research has established that the primitive culture is characterized by a syncretism of mythological and ideological ideas of the primitive human, which was reflected in the folk tradition; in the era of Ancient art, the Greek philosophers gave preference to reason while comprehending art, which went in line with the rational, philosophical and ideological orientation of the society at that time; in the Middle Ages era, this tendency fixed itself in the theological-rationalist search of the «fathers of the church», which was reflected in various genres of church music, that was religious, ascetically oriented, strictly regulated, as well as emotionally limited; the musical art of the Renaissance with its faith in the unlimited possibilities of harmonious human development is characterized by the unity and balance of the emotional and the intellectual; the New Age art was marked by new artistic trends, including Baroque and Classicism. The Baroque concept of musical art was consonant with the Renaissance tradition in terms of defining the main purpose of art as the need to reflect the sensuality of the real world; the art of the Classicism is subject to strict regulations, appealing to the human mind, instead of the senses, it is based on «rationalism», the prevailing philosophical worldview at the time; a harmonious combination of both emotional and personal experiences together with a deep intellectual comprehension of life is the leading feature of the art of the Romantic era; the modern music culture demonstrates the tendency to strengthen the rational constituent.

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Janas, Janina. "Miron Costin – cronista e poeta." Fabrica Litterarum Polono-Italica, no. 2 (June 30, 2020): 179–84. http://dx.doi.org/10.31261/flpi.2020.02.12.

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The volume is based on the analysis of the historiographic and literary work of Miron Costin, who held positions of primary importance in the military, administrative and political life of the Principality of Moldavia during the central decades of the seventeenth century. In particular, are examined the narrative structures of his chronicles, which often are inspired by the creations of contemporary and previous Polish historians. Furthermore, the contribution to the affirmation of the latinity of the Romanian people is clarified, when the question had not yet been put on the agenda. Moreover, the echoes of Greek and Latin classicism are identified in the verses of the poem La vita del mondo (The life of the world), steeped in motifs and modules of the overflowing spirit of the Baroque era.

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Rusnak, Radosław. "The Oeuvre of Jan Alan Bardziński – a Dominican, Preacher and Translator." Tematy i Konteksty specjalny 1(2020) (2020): 448–69. http://dx.doi.org/10.15584/tik.spec.eng.2020.25.

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The article is devoted to little known and rarely appreciated late-Baroque Dominican Jan Alan Bardziński who was a keen preacher and translator of both secular and religious texts. Bardziński’s literary activity is strongly connected to his duties performed in the order as one of the main values he searches for in his texts is of a didactic nature. Simultaneously, he may certainly be perceived as an adapter of some ancient works which puts him among other 17th and 18th-century followers of the culture of Classicism. In the article we briefly discuss his works and provide the readers with their distinctive features. Moreover, we shall take into consideration Bardziński’s notes which allow us to define his goals and priorities and underline the moral values included in his works.

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Bury, Emmanuel. "Jean Baudoin (1584-1650), témoin de la culture baroque et pionnier du classicisme." Dix-septième siècle 216, no. 3 (2002): 393. http://dx.doi.org/10.3917/dss.023.0393.

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Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.

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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.

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Biet, Christian. "L’éblouissant soleil ou le mythe du national-classicisme français. Lectures et représentations du « Grand Siècle » : Corneille et le national-classicisme." Dossier — Histoire du théâtre et théâtre de l’Histoire, no. 39 (May 6, 2010): 27–46. http://dx.doi.org/10.7202/041632ar.

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Durant l’entre-deux-guerres, Corneille a, le plus souvent, été l’emblème du national-classicisme bleu horizon, puis l’enseigne baroque de l’intellectuel « en crise », puis encore la figure fasciste, nazie, pédagogique, mais qui s’échappe quand on veut la saisir sous les feux des cérémonies, enfin Corneille est devenu le symbole de la famille et de la patrie vichystes. Mais il n’a jamais pu être totalement cerné par ces images : malgré la propagande lénifiante et désespérée d’un Delacour pétainiste, Corneille résiste, pour peu qu’on le lise et surtout qu’on le joue. Le public applaudit aux sentences hautaines, rit aux ambiguïtés, se moque d’Auguste qu’il imagine en Hilter, vibre lorsque Jean-Louis Barrault parcourt la scène l’épée à la main, tandis qu’André Castelot, dans La Gerbe et Rebatet, dans Le Cri du peuple, s’indignent. Brasillach l’a bien vu, Corneille n’est pas simple, et il joue des tours à ceux qui s’en emparent, il ne dit pas une chose puisqu’il met en place des contradictions. Il en dit beaucoup trop. Et si, tout à fait légitimement, la critique et la scène se sont emparés du personnage Pierre Corneille et de ses textes pour les actualiser, au sens de Vitez, il est clair que jamais cette actualisation n’a pu être totalement simple, ou satisfaisante parce que transparente. C’est peut-être là l’intérêt d’un auteur majeur, ou plutôt qu’un auteur de textes fondés sur la mise en place des contradictions, de comédies et de tragédies passionnées de complexité : qu’il résiste à l’interprétation, dans tous les sens qu’ont et qu’ont eu ces mots.

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DUȚICĂ, Luminița, and Ema-Laura STANCIU. "Sound polychromes in the choral creation of the composer Gheorghe Duțică." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 57–68. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.6.

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Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough knowledge of musicology, composition and pedagogy. It should be noted that each work bears the imprint of a strong originality, as well as a mastery worthy of appreciation. The charm of these works is very special, managing to describe with poetic and suggestive images.

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Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.

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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.

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Rivera Salmerón, Esperanza. "«Que los dos somos un alma / que se partió en dos mitades»: en torno a la amistad en la comedia española del Siglo de Oro." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 30 (July 9, 2018): 48–60. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018302067.

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Nuestros clásicos grecorromanos entendían la amistad como el culmen de toda relación humana y, por ende, como fuente imprescindible de felicidad. Partiendo de ellos, la tradición literaria fue fijando unos tópicos como reflejo de este sagrado vínculo, cuyos hitos principales serán estudiados en este artículo. Destacamos, en este sentido, el papel que representa el teatro barroco, realidad artística que sitúa la amistad como uno de sus motivos principales de conflicto dramático. A modo de ejemplo, analizaremos algunas comedias del dramaturgo barroco Felipe Godínez, quien privilegia este tema dentro de su producción teatral mediante la construcción de estructuras dramáticas que se fundamentan en la tradición y a través de una serie de recursos que serán recurrentes en toda la historia de la literatura. Greek and Roman Classics understood friendship as the culmination of all human relationships and, therefore, as an essential source of happiness. This article will study the main topoi related to this sacred bond coming from the Classics. In this sense, we highlight the role played by baroque theater, an artistic reality that places friendship as one of its main reasons for dramatic conflict. As an example, we will examine some plays by the baroque playwright Felipe Godínez. Within its theater production, this author focuses on this specific topic by forming dramatic structures based on the tradition. He also employs a series of resources that will be recurrent throughout the history of the literature.

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Kotaridi, Yuliya. "On the Reception of the French Version of Cupid and Psyche Plot in the Poem of Ippolit Bogdanovich “Dushenka” (1783)." Przegląd Wschodnioeuropejski 10, no. 1 (June 30, 2019): 325–35. http://dx.doi.org/10.31648/pw.4528.

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The subject of this paper is the transformation of poetics of Cupid and Psyche plot in its national and historical modifications in French and Russian literatures of the 17th–18th centuries. The methodology of the analysis is based on mythological studies (K. Levi-Strauss, J. Frazer, A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). This paper examines the genre of J. de La Fontaine’s and his follower Ippolit Bogdanovich’s versions of the plot and the interrelation of various literary styles in their poetics. The genre of the French and Russian versions absorbs the elements of Classicism, Baroque and Rococo which are combined in syncretic unity. The transformation of the tale of Cupid and Psyche leads La Fontaine and Bogdanovich to the creation of a hybrid genre in which the initial version of the plot is exposed to travesty and revaluation.

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Herva, Vesa-Pekka, Janne Ikäheimo, Matti Enbuske, and Jari Okkonen. "Alternative Pasts and Colonial Engagements in the North: The Materiality and Meanings of the Pajala ‘Runestone’ (Vinsavaara Stone), Northern Sweden." Cambridge Archaeological Journal 28, no. 4 (April 22, 2018): 613–28. http://dx.doi.org/10.1017/s0959774318000197.

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The unknown and exotic North fascinated European minds in the early modern period. A land of natural and supernatural wonders, and of the indigenous Sámi people, the northern margins of Europe stirred up imagination and a plethora of cultural fantasies, which also affected early antiquarian research and the period understanding of the past. This article employs an alleged runestone discovered in northernmost Sweden in the seventeenth century to explore how ancient times and northern margins of the continent were understood in early modern Europe. We examine how the peculiar monument of the Vinsavaara stone was perceived and signified in relation to its materiality, landscape setting, and the cultural-cosmological context of the Renaissance–Baroque world. On a more general level, we use the Vinsavaara stone to assess the nature and character of early modern antiquarianism in relation to the period's nationalism, colonialism and classicism.

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Bagina, Elena. "The binary star." проект байкал 18, no. 68 (August 8, 2021): 50–55. http://dx.doi.org/10.51461/projectbaikal.68.1802.

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Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.

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SMITH, C. N. "Review. Le Masque et le visage: du baroque espagnol au classicisme francais. Cioranescu, Alexandre." French Studies 39, no. 3 (July 1, 1985): 332. http://dx.doi.org/10.1093/fs/39.3.332.

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Tereshkina, Oksana L. "West European Art from the Point of View of the Academy of Arts’ Pensioners of the Second Half of the 18th Century (the Problems of Interpretation)." Observatory of Culture, no. 5 (October 28, 2015): 57–61. http://dx.doi.org/10.25281/2072-3156-2015-0-5-57-61.

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Studying of the interpretation of the West European art by the pensioners of the Academy of Arts is an analysis of the interpretation’s components: the choice of art directions, styles and schools; the preference of their personal attitude; the assessment of a specific piece of art; the terminology as an indicator of their either professional or amateur position. The choice of art directions depended on the system of art views existing in the Academy of Arts in the second half of the 18th century. The Academy focused the attention of its students on the art of Antiquity, Renaissance and Classicism. Nevertheless, the pensioners spoke well on the works of Baroque. They used to prefer the art of old masters to the modern art. The specialization of a pensioner illustrated their assessment of the masterpieces. The professional terminology helped to make the description and assessment. The advent of treatises on the art in Russia made possible using the terminology.

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Tizón Díaz, Manuel, and Francisco Gómez Martín. "The Influence of Musical Style in Perceived Emotion." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 17 (July 3, 2020): 85–131. http://dx.doi.org/10.5209/reciem.65311.

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In this work we address the problem of understanding how musical style influences perceived emotion as well as their pedagogical consequences. The first problem arises when considering the very definition of style. The definition of musical style and how to apply it is thoroughly discussed. Several experiments were carried out in order to gain understanding about the emotional response to musical style. Six styles (Baroque, Classicism, Romanticism, pandiatonicism, twelve-tone serialism, and Phrygian mode) were selected and pieces were composed in those styles to be later played to both musicians and novices. Their perceived emotional response was measured and the results were analyzed thereafter. Differences were found across styles, mode and musical background, including complex patterns in valence and arousal. Last but not least, the knowledge acquired from this research can be incorporated a corpus for application and future study and use in music conservatories and centers for higher education and investigation.

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VAREY, J. E. "Alexandre Cioranescu, "Le Masque et le visage. Du baroque espagnol au classicisme français" (Book Review)." Bulletin of Hispanic Studies 63, no. 4 (October 1986): 368. http://dx.doi.org/10.3828/bhs.63.4.368.

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Waasdorp, Sabine. "Jan Bloemendal en Nigel Smith (eds.), Politics and Aesthetics in European Baroque and Classicist Tragedy." De Zeventiende Eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief 32, no. 2 (December 28, 2016): 264. http://dx.doi.org/10.18352/dze.10165.

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Kashlyavik, K. Y. "A. V. Golubkov. Préciosité and the gallant tradition in French salon literature of the 17th c. A monograph." Voprosy literatury, no. 4 (August 22, 2019): 274–79. http://dx.doi.org/10.31425/0042-8795-2019-4-274-279.

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The monograph deals with a subject that is rarely covered by Russian philologists: préciosité and the gallant tradition of 17th c. French culture. The author singles out the French and Russian approaches to interpreting preciousness, noting their differences and the fact that Russian scholars are lagging behind the French on the subject of salon literature. A. V. Golubkov rejects the principle of ‘neutrality’ towards the subject of the study, which is evident from his context-based use of psychoanalytical tools, including the term ‘frigidity’ to describe the social genesis of the gallant tradition and the habitus of préciosité. In his examination of the sources of these French cultural phenomena (‘academy’, ‘préciosité’, ‘gallantry’, and ‘salon’) the author shows their association with types of creative activity, Baroque and Classicism, and oral and written practices of salon culture, and portrays linguistic and genre-specific experiments of the précieuses. He stresses their preference of the salon literary genres over rhetorical skills, identifies elements of dialogue-based poetics, and reveals the principal indicators of a new language art.

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ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.

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This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of similarities and differences, being argued by presenting the main theories, which are based on a psychological profile of the individual, carefully studied over the decades. The metaphysics of music and the physical and mental processes that the composer or improviser goes through, have often been associated with other fields of research, such as language, theater, poetry, rhetoric and much more. Their study and presentation have as role the artistic development of the complete musician, whether it is a soloist, composer or improviser.

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Wetmore, Kevin J. "Politics and Aesthetics in European Baroque and Classicist Tragedy, edited by Jan Bloemendal and Nigel Smith." Journal of Jesuit Studies 5, no. 1 (December 21, 2018): 139–41. http://dx.doi.org/10.1163/22141332-00501008-04.

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Pérez, Yolanda Rodríguez. "Politics and Aesthetics in European Baroque and Classicist Tragedy ed. by Jan Bloemendal and Nigel Smith." Bulletin of the Comediantes 69, no. 1 (2017): 123–27. http://dx.doi.org/10.1353/boc.2017.0007.

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Bruyn, J. "Wat bedoelde Rembrandt in zijn derde brief aan Constantijn Huygens over diens huis te zeggen?" Oud Holland - Quarterly for Dutch Art History 112, no. 4 (1998): 251–52. http://dx.doi.org/10.1163/187501798x00239.

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AbstractIn Horst Gerson's edition of the seven letters Rembrandt addressed to Constantijn Huygens (notes 1 and 2), part of the last paragraph of the third letter has been misread in the transcription and was consequently rendered incorrectly in the translation. Referring to a painting he wished to present to Huygens, Rembrandt wrote that it 'will be presented to my lord at his house' ('sal mijn heer vereer[t] werden in sijnen Huijsen'). Unfortunately, Rembrandt omitted a t and wrote the words to form a single word. In the transcription an e was added, which resulted in the non-existent word 'vereerweerden'. The passage was then translated, quite imaginatively, as '[the picture] will be worthy of my lord's house'. This version has been generally accepted in English and even in Dutch renderings of the letter (note 5) and has been used as a starting point for speculations on Rembrandt's 'baroque' style and Huygens's 'classicist' taste (note 6). However, it clearly invests Rcmbrandt's words with a programmatic significance which is completely alien to what was merely a practical piece of information.

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Krzywy, Roman. "Allegorical Ekphrases of the Hall of Fame in Baroque Encomiums by Samuel Twardowski and Samuel Leszczyński." Ruch Literacki 57, no. 6 (December 1, 2016): 623–35. http://dx.doi.org/10.1515/ruch-2017-0091.

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Summary The article begins with an overview of the best known descriptions of palaces and temples in classical and Biblical literature. It is followed by a brief survey of the rhetorical rules associated with the ekphrasis of notable buildings, palaces, and other architectural wonders. After noting the importance of such description in the study of literature from classical antiquity until the Early Modern Age, the article focuses on two encomiums of the 17th century, Samuel Twardowski’s Leszczyński Palace (1643) and Samuel Leszczyński’s A Classicum of immortal Fame (1674). In both poems the encomium is fused with an allegorical ekphrasis of an imaginary Hall of Fame. While either of the two poems abounds in highly vivid descriptions, Leszczyński’s owes a great deal to the descriptive strategies and rhetoric of the elder poet. His ambition, though, was to outdo Twardowski. Leszczyński’s poetic hall with its allegories is a Baroque extravaganza, extolling not just one noble family but the glory of the Polish nation at large.

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Puhmajer, Petar, and Krasanka Majer Jurišić. "Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu." Ars Adriatica, no. 6 (January 1, 2016): 185. http://dx.doi.org/10.15291/ars.537.

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This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

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Journal articles on the topic 'Baroque's classicism'

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