Relevant bibliographies by topics / Baroque literature History and criticism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Baroque literature History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Baroque literature History and criticism.'

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.

Journal articles on the topic "Baroque literature History and criticism"

1

Meimei, Huan. "THE WORLDVIEW PRINCIPLES OF THEOPHAN PROKOPOVYCH'S "POETICS"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 34–39. http://dx.doi.org/10.17721/1728-2659.2022.31.07.

Full text
Abstract:
The article examines the peculiarities of the worldview foundations of "Poetics" by Theophan Prokopovych. The thesis is substantiated that the ideological foundations of the treatise are generally educational. It is emphasized on the author's criticism and denial of Baroque norms, as the opposition to the enlightenment theses. Prokopovych represents the author's vision of well-known concepts and categories of theoretical poetics, showing the examples of the world literature. The thinker argues with traditional understandings of a number of categories, while offering innovative and relevant to his era theses. The writer develops the idea of the necessity to adhere to the stated theoretical provisions, representing them as a model for further literary development. The treatise, having not only theoretical but also practical character, represents the peculiarities of literary evolution. In "Poetics" by Theophan Prokopovych, we observe the development of the tradition of creating such treatises in school institutions. The author's contribution to the improvement of this genre and its existence in Ukrainian literature is important. The studied treatise represents the author's departure from the baroque tradition of poetics, even in some cases its denial, the presentation of individual worldview in the field of theory and history of literature. T. Prokopovych offered his vision of poetic art and its understanding in an educational way. The traditional thesis in science about the worldview principles of the treatise "Poetics" as synthetic in nature, combining traditions of Antiquity, Medieval, Renaissance, Baroque, is discussed and supplemented by considerations of the predominance in the treatise of classical and enlightenment elements. The author's character is also clearly shown in the presentation of T. Prokopovych's artistic texts in "Poetics", which tend towards the Enlightenment style. In general, written in the era of Ukrainian literary Baroque "Poetics" by Theophan Prokopovych leads a discussion with the ideas and theses of the day as those that have lost their relevance and need to be modernized. Thus, the essence of the worldview principles of the treatise is in their revolutionary nature in relation to the ruling era and the establishment of innovation in the field of theory and history of literature, which Prokopovych notices in the Enlightenment.
APA, Harvard, Vancouver, ISO, and other styles
2

Valsalobre, Pep. "Un text excèntric. L’Ambaixada de Francesc Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, no. 21 (June 22, 2023): 531. http://dx.doi.org/10.7203/scripta.21.26850.

Full text
Abstract:
Resum: Després d’un preàmbul amb l’exposició sumària de les abundants i diverses interrogacions que ens suscita aquest text del poeta barroc barceloní Francesc Fontanella –que n’abasten tots els aspectes: transmissió, testimonis amb textos divergents, autoria, context de creació, gènere literari– es passa a intentar respondre-les una per una a partir de les darreres (poques) aportacions que s’han fet sobre la qüestió juntament amb noves aproximacions de l’autor. Se’n dreça, finalment, una hipòtesi de context i d’execució dramàtica.Aquesta introducció serveix de presentació de l’edició crítica del text amb una anotació exhaustiva. L’Annex incorpora tots els elements ecdòtics disposats per a la consideració del lector i de l’investigador.Paraules clau: Literatura barroca catalana; Francesc Fontanella; teatre barroc; Ambaixada del príncep Licomandro a l’emperador de Bugia.Abstract: Following a preamble that provides a summary of the abundant and diverse questions raised by this text penned by the Barcelona baroque poet Francesc Fontanella –which cover all aspects: its transmission in manuscripts, testimonies with divergent texts, authorship, creative context, literary genre– a response is offered for each based on the last (few) contributions that have been made on the issue together with new approaches by the author to the work. A hypothesis of the work’s context and its dramatic execution is then ultimately established.This introduction serves as a presentation of the critical edition of the text with exhaustive annotations. The Annex includes all elements pertaining to textual criticism of the work arranged for the consideration of the reader and researcher.Keywords: Catalan Baroque Literature; Francesc Fontanella; Baroque theatre; Ambaixada del príncep Licomandro a l’emperador de Bugia.
APA, Harvard, Vancouver, ISO, and other styles
3

Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.

Full text
Abstract:
The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
APA, Harvard, Vancouver, ISO, and other styles
4

Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

Full text
Abstract:
The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its ori­gins dating back to antiquity, the author proves that Russian mass culture received an “impulse of indepen­dence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into libe­ral-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
5

Petrenko-Tseunova, Olha. "THE STATUS OF CAPITAL IN THE “KYIV’S TEXT” OF THE BAROQUE EPOCH." City History, Culture, Society, no. 8 (June 16, 2020): 11–23. http://dx.doi.org/10.15407/mics2020.08.011.

Full text
Abstract:
Urban studies are a multidisciplinary area, but experts in different fields conclude that the city is worth considering in the categories of text. Moreover, urban studies in literary criticism are distinguished by the fact that the phrase “a city as a text” for philologists is not only a beautiful metaphor. The fiction space, including urban space, is a separate reality that exists according to its own rules, depending on the epoch style and the genre of a particular piece of writing. In the Baroque times, a city is a place of creation and functioning of culture. In the XVII century in Ukrainian cities appeared many educational institutions, thanks to patrons, numerous churches were built, which was reflected in panegyrics. At the same time, the large number of Kyiv Rus’ buildings had been reconstructed, and there are mentions of the Russ past of the city in polemical literature, school dramaturgy and chronicles. In Kyiv, the glory of the “capital”, “Jerusalem of the Russ land” is affirmed. The purpose of the author is to explore the mechanism of rethinking the past and its role in the construction of an artistic model of the city in the Baroque epoch. The ways of transcoding Kyiv Russ urban motifs into the language of Baroque culture are considered in the paper. In the early 1600s, Kyiv remained a capital status in the minds of citizens, despite the decline and destruction of the past. At the turn of the 16–17th centuries the idea of continuity of the history and glory of Kyiv from the Middle ages became widespread among intellectuals. In times of statelessness, the current becomes relative and unimportant, while the past is considered to be the actual reality. This article aims to examine how the urban space becomes the embodiment of collective memory: through the buildings of St. Sophia’s Cathedral, St. Michael’s Cathedral, the Desiatynna Church, the Church of Virgin Mary Pyrohoshcha, the Cathedral of the Dormition in the Kyiv-Pechersk Monastery, the holiness and centrality of the city are transmitted in sacral and profane levels. The author pays particular attention to the analysis of the opposite self-image of Kyiv citizens as residents of the “city on the outskirt”, on the border of Wild Field.
APA, Harvard, Vancouver, ISO, and other styles
6

Zudina, D. A., and T. A. Sharypina. "Josef Váchal’s Authorial Intentionality as a Manifestation of Aesthetic Trends in Culture at Turn of 19th—20th Centuries." Nauchnyi dialog 12, no. 3 (April 28, 2023): 248–68. http://dx.doi.org/10.24224/2227-1295-2023-12-3-248-268.

Full text
Abstract:
The question of the formation of a new type of creator-demiurge in the conditions of culture at the turn of the 19th—20th centuries is considered. Particular attention is paid to the personality of the Czech artist Josef Váchal. The relevance of the study is determined by several factors: firstly, the recent increased interest in Czech literature in Russia and, at the same time, its insufficient representation both in the book market and in the scientific community; secondly, the lack of Russian-language criticism directly devoted to the work and the author’s figure of J. Váchal. Describing the cultural and historical environment in which the creative personality of the artist was formed, the authors of the article refer both to the general European context and directly to the Czech language. It has been established that the work of J. Váchal has a deep connection with the history of his country. In particular, the artist’s reaction to certain moods prevailing in Czech society at that time explains his passion for baroque aesthetics, the cornerstone of his poetics. In addition, Váchal’s biography largely determined the themes and form of his works, so understanding him as a specific personality of the 19th-20th centuries contributes to a more detailed analysis of his work.
APA, Harvard, Vancouver, ISO, and other styles
7

Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

Full text
Abstract:
One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
APA, Harvard, Vancouver, ISO, and other styles
8

Zhelezcheva, Tanya K. "Thomas Traherne on Punctuation." Explorations in Renaissance Culture 48, no. 2 (September 30, 2022): 190–220. http://dx.doi.org/10.1163/23526963-04802003.

Full text
Abstract:
Abstract Though Thomas Traherne’s punctuation has been harshly criticized for its idiosyncrasy, scholars have also frequently admired the stylistic effects that it creates. His punctuation is linked to baroque art and music, the use of periods to highlighting subordinate ideas, capitalization to its inability to foster figurative language, and parentheses to his writing and editing process. This essay draws attention to a related, but different, issue that has remained unaddressed: what does Traherne himself have to say about punctuation? An examination of Traherne’s works shows that Traherne’s understanding of punctuation falls into two broad categories: the complex-metaphoric and the politico-religious. His metaphoric understanding, which belongs to a long tradition, can be gleaned from his references to the oracle of Delphi’s capital letters inscription; Ficino’s translation of Plato; and Ben Jonson’s borrowing from a fourteenth-century translation of Julius Scaliger’s grammar. Traherne’s politico-religious understanding of punctuation emerges most clearly in his Roman Forgeries (1673) in which he critiques a long list of ecclesiastical sources—epistles, church canons, multi-volume works of the councils—to argue that Catholic scribes and editors used punctuation for ideological purposes: to obfuscate, hide, and forge religious doctrines. Traherne’s comments reveal that early modern readers were likely to skip over text within parenthesis and marginal annotations and to be impressed by the use of all capital letters. Traherne’s textual criticism through the lens of punctuation helps us to understand early modern reading habits as well as the history of textual editing and textual transmission.
APA, Harvard, Vancouver, ISO, and other styles
9

Chaberski, Mateusz. "Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s The Baroque Cycle." Art History & Criticism 14, no. 1 (December 1, 2018): 110–21. http://dx.doi.org/10.2478/mik-2018-0010.

Full text
Abstract:
Summary In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past. By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.
APA, Harvard, Vancouver, ISO, and other styles
10

De Grazia, Diane. "Carl Goldstein. Visual Fact over Verbal Fiction. A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy. Cambridge: Cambridge University Press, 1988. 143 figs. + xix + 244 pp. $59.50." Renaissance Quarterly 42, no. 4 (1989): 866–68. http://dx.doi.org/10.2307/2862304.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Baroque literature History and criticism"

1

Morgan, Dawn. "The nose of death : Baroque novelistic discourse in the history of laughter." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35019.

Full text
Abstract:
The Nose of Death considers the common matrix of the English scientific revolution and the modern English novel through the indicator of laughter. Whereas death is the paradigmatic object of laughter in the premodern period, animate or thinking matter is the prevailing object of laughter in modernity. The change is located in texts of the English baroque period from 1607 to 1767. Baroque discourse is defined by the language developed by writers loyal to both the Christian and the Copernican world views. Contradictory allegiances required them to institute a narratorial position based on simultaneous attachment to and detachment from a single point of view. This position is the defining feature of baroque discourse, the basis of both the perspective of modem science and the animation of multiple viewpoints in the modern novel.
The Nose of Death develops Walter Benjamin's reading of baroque "muting" and "fragmentation," processes that free matter, language, and time for alternative composition. The dissertation likewise adapts M. M. Bakhtin's account of the "grotesque method," considered as the approach to language and the human body that the modern "scientific method" posits itself against. This study treats baroque novelistic discourse in forgotten texts drawn from McGill's Redpath Tracts by Thomas Tomkis, Thomas D'Urfey, Tobias Swinden, and a selection of anonymously authored pamphlets. It considers, as well, two early medical works by Robert Boyle and Walter Charleton. Analogous fragments are similarly analyzed from three canonical works: Robert Burton, The Anatomy of Melancholy (1621), Samuel Richardson, Clarissa, or The History of a Young Lady (1747--48), and Laurence Sterne, The Life and Opinions of Tristram Shandy, Gentleman (1759--67).
APA, Harvard, Vancouver, ISO, and other styles
2

Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.

Full text
Abstract:
I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
APA, Harvard, Vancouver, ISO, and other styles
3

Forsyth, E. C. (Elliott Christopher) 1924. "La justice de Dieu : Les Tragiques d'Agrippa d'Aubigne et la Reforme protestante en France au XVIe siecle / Elliott Forsyth." Paris : H. Champion, 2005. http://hdl.handle.net/2440/38642.

Full text
Abstract:
Also submitted by the author as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references and index.
564 p. ;
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
APA, Harvard, Vancouver, ISO, and other styles
4

Forsyth, Elliott Christopher. "La justice de Dieu : Les Tragiques d'Agrippa d'Aubigne et la Reforme protestante en France au XVIe siecle / Elliott Forsyth." Thesis, Paris : H. Champion, 2005. http://hdl.handle.net/2440/38642.

Full text
Abstract:
Also submitted by the author as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references and index.
564 p.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
APA, Harvard, Vancouver, ISO, and other styles
5

Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

Full text
Abstract:
L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
APA, Harvard, Vancouver, ISO, and other styles
6

Preece, Julian. "The Baroque Guenter Grass : uses of history in the prose works." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314996.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

Full text
Abstract:
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
APA, Harvard, Vancouver, ISO, and other styles
8

Fairley, Ian. "Criticism in history : the work of György Lukacs, 1902-1914." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Nader-Esfahani, Sanam. "Knowledge and Representation through Baroque Eyes: Literature and Optics in France and Italy ca. 1600-1640." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493303.

Full text
Abstract:
The scientific discoveries and inventions of the early seventeenth century, which include Johannes Kepler’s inverted retinal image, the refinement of lenses, and the invention of the telescope, transformed the status of vision in the acquisition of knowledge, thus modifying the nature of what is known and even challenging how things are known. Rather than focus on philosophical oppositions between seeing and looking, or on artistic practices such as linear perspective or anamorphosis in literature’s engagement with vision, this study privileges instead a dialogue with early modern optics. Deriving a theoretical framework from the scientific debates about vision and its instruments, which brings attention to the historically charged concepts of mediated perception, the visible and the invisible, and natural and mechanical sight, I examine how French and Italian authors in the early seventeenth century engaged with ocular and optical motifs to question the sense of sight and its authority. My corpus describes vision as indispensable to the observation and knowledge of the world, although the texts also expose the vulnerability of the sense of sight to error because of natural limitations or an inability to recognize the true form behind deceitful appearances. As such, they elucidate a crisis of knowledge and representation that characterizes the earlier decades of the seventeenth century. Based on the dynamics between the eye and visual aids as they appear in the scientific community, I identify two distinct visual modes in the literary texts, which correspond to the natural eye and the instrumentalized one, assisted and enhanced by a lens. The authors considered here, which include Béroalde de Verville, Traiano Boccalini, Agrippa d’Aubigné, and the writers involved in the polemics around Giambattista Marino’s L’Adone and Pierre Corneille’s Le Cid, present the two visual modes as existing in tension, which I define as “baroque vision.” The analyses of the literary texts demonstrate how the integration of lenses, be it through explicit references to optical devices or through more abstract portrayals that parallel the operations of the eye and the instrument, becomes emblematic of other concerns, from debates regarding discontent about dissimulation to discussions of poetic practice.
Romance Languages and Literatures
APA, Harvard, Vancouver, ISO, and other styles
10

DeJardin, Kathleen Rose. "The accompanied vocalise and its application to selected baroque, classical, Romantic and twentieth century songs and arias." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185928.

Full text
Abstract:
The accompanied vocalise has been a vehicle for voice training since the "golden age of 'bel canto' thinspace". These vocalises or exercises enable the student to concentrate on using pure tone and to develop various aspects of technical skill and musical style. The use of these accompanied vocalises can detect perceived problems or weaknesses before the students encounters them in songs and arias. The pedagogical and instructional value of the selected vocalises are examined for their possible efficacy in strengthening a student's perceived weakness. In order to determine the relevance of these accompanied vocalises, arias of five representative composers have been chosen. These songs and arias are examined to identify bel canto characteristics, some of which may be problematic for students. Passages reflecting these stylistic characteristics are paired with specific vocalises of similar musical construction. For each example, there are excerpts from three different vocalise composers. The examples contain only a few measures, but it is assumed that the repeated practice of the entire composition will further the acquisition of the desired vocal trait. The five bel canto characteristics examined in depth are: agility, long legato phrases, ornamentation, co-ordination of the registers, and strength and control of the tonal range. The vocalises utilized are limited by the availability of printed sources. A compilation of the instructional vocalises examined is provided in an addendum to the study.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Baroque literature History and criticism"

1

Timothy, Hampton, ed. Baroque topographies: Literature, history, philosophy. New Haven, Conn: Yale University Press, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Ulčinaitė, E. Baroque literature in Lithuania. [Vilnius?]: Baltos Lankos, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Weber, Alexander. Günter Grass's use of baroque literature. London, United Kingdom: W.S.Maney & Son for the Modern Humanities Research Association and the Institute of Germanic Studies, University of London, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Weber, Alexander. Günter Grass's use of baroque literature. Leeds, United Kingdom: W. S. Maney for the Modern Humanities Research Association and the Institute of Germanic Studies, University of London, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

The baroque in English neoclassical literature. Newark: University of Delaware Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Chédozeau, Bernard. Le baroque. [Paris]: Nathan, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Petráš, Martin. Baroque en Bohème. Villeneuve-d'Ascq: Université Charles de Gaulle-Lille III, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Baroque Montesquieu. Geneve: Droz, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Souiller, Didier. La littérature baroque en Europe. Paris: Presses universitaires de France, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lambert, Gregg. On the (new) Baroque. Aurora, Colo., USA: Davies Group, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Baroque literature History and criticism"

1

Mendes, Margarida Vieira. "Baroque Literature Revised and Revisited." In A Revisionary History of Portuguese Literature, 58–78. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003248897-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bennett, Andrew, and Nicholas Royle. "History." In An Introduction to Literature, Criticism and Theory, 178–91. 6th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003255390-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lansdown, Richard. "‘A Province of Truth’: Criticism and History." In The Autonomy of Literature, 145–200. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780333985182_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Scrivener, Michael. "Jewish Representations, Literary Criticism and History." In Jewish Representation in British Literature 1780–1840, 11–25. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120020_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Cameron, Barry. "5. Theory and Criticism: Trends in Canadian Literature." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 108–32. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Mozejko, Edward, and Milan V. Dimić. "Romantic Irony in Polish Literature and Criticism." In Comparative History of Literatures in European Languages, 225. Budapest: Akadémiai Kiadó, 1988. http://dx.doi.org/10.1075/chlel.viii.16moz.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Jiong, Zhang. "A History of Chinese Literature from a Macro-Level Perspective." In Literature and Literary Criticism in Contemporary China, 79–111. London ; New York : Routledge, 2017. | Series: China perspectives: Routledge, 2017. http://dx.doi.org/10.4324/9781315708386-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Youquan, Ouyang. "The Establishment of Evaluation Criteria for Cyber Literature." In A History of Cyber Literary Criticism in China, 206–27. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003428480-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Cocks, Neil. "The Child and History." In The Peripheral Child in Nineteenth Century Literature and its Criticism, 143–71. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137452450_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Torres-Saillant, Silvio. "Dominican Literature and Its Criticism: Anatomy of a Troubled Identity." In Comparative History of Literatures in European Languages, 49–64. Amsterdam: John Benjamins Publishing Company, 1994. http://dx.doi.org/10.1075/chlel.x.06tor.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Baroque literature History and criticism"

1

"A Study of the Literary Criticism Style in Xia Zhiqing's The History of Chinese Modern Novels." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.45.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Grebenshchikov, Yu. "AKSAKOLOGY IN THE PRACTICE OF LITERARY CRITICISM OF THE XX-XXI CENTURIES." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3729.rus_lit_20-21/210-213.

Full text
Abstract:
The article highlights the history of aksakology of the XX-XXI centuries. The beginning of scientific practice is associated with the name of S.I. Mashinsky and his monograph on the work of S.T. Aksakov. The research of E.L. Voitolovskaya, O.N. Belokopytova, A.V. Chicherin became the most systematic research of the 1950s - 1970s. It is shown that the main vectors of aksakology, since the 1980s, were set in the works of E.I. Annenkova, V.A. Koshelev, Yu.V. Mann. The efforts of Ufa linguists and literary critics, as well as participants of the Samara conferences of 2017 and 2020, were particularly noted. The monograph by V.E. Ugryumov and the developments on poetics made in recent years by A.A. Churkin are considered significant at the present stage.
APA, Harvard, Vancouver, ISO, and other styles
3

Slamova, Karolina. "THE SEARCH FOR AN APPROACH TO CZECH LITERARY HISTORY IN IGOR HAJEK�S CONCEPT." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.22.

Full text
Abstract:
This paper focuses on the field of literary history in order to show what approach to the historiography of Czech literature was taken by the representative of Czech exile literary criticism, Igor Hajek. The context which Hajek entered during his study stays in the USA and Great Britain, and later in exile, was the reception horizon of the late 1960s, when the events of the �Prague Spring� attracted the attention of the West and turned attention to the Czech liberalisation movement, in which literature played a significant role. Hajek assumed the role of a mediator of the fundamental values of Czech literary production to the Western audience from the position of an expert in the Anglo-American cultural environment and Czech and foreign literary approaches. The specificity of his perspective is due to the fact that he tried to present the image of Czech national literature with respect to a non-Czech reader and that he aimed to clarify the main features of the development of Czech literature to international students and readers. The paper presents the conclusions of the analysis of Hajek�s literary-historical essays, which show that Igor Hajek relied mainly on the views of Arne Novak, a Czech literary historian and critic. The paper further assumes that Igor Hajek, due to his background in English studies, methodologically drew on some of the approaches that were being promoted in the West in his time and notes the connections between Hajek�s methods and the methodologies these approaches are based on.
APA, Harvard, Vancouver, ISO, and other styles
4

Liu, Chongxi. "“POETRY CARVED IN STONE”: DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.

Full text
Abstract:
The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
APA, Harvard, Vancouver, ISO, and other styles
5

Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose." In International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.

Full text
Abstract:
The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.
APA, Harvard, Vancouver, ISO, and other styles
6

Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

Full text
Abstract:
Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
APA, Harvard, Vancouver, ISO, and other styles
7

Santamaria, Giovanni. "Merging Thresholds and New Landscapes of Knowledge." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.11.

Full text
Abstract:
It has become extremely important to revisit our teaching methodology along with pedagogical contents and objectives, in consideration of the impressive and sometimes overwhelming progress that the technology available to document, analyze and represent the complexity of our built and natural environments has reached, and also the role that it has been proactively playing in affecting our way of thinking, designing and building. A renewed “theory of formativity” (Pareyson)1 styles a knowledge that is generated by a constantly transforming process of “making,” in which methodologies, theoriesand learnings arise within the actions of designing and building, and mostly because of the making. Following the etymology of the Greek world2, this making could be understood as poetic way of actively participating to the changes of our environment. If we look carefully, this approach to structure the knowledge has been deeply rooted in the history and legacy of the most relevant architects and designers, as ontological condition imbedded also into the idea of progress. We have been witnessing several experimentations that have been capable of bringing theoretical explorations, such as the ones from the fields of philosophy and literature, into the realm of design and space making. These explorations reach various degrees of quality, but nevertheless they provide openings to further interesting discussions. An example of this sort could be among others, the collaboration between Eisenman and Derrida for the design proposal for Parc de la Villette in Paris of 19873, where the memory of the proposals for Cannaregio in Venice or the project “Romeo and Juliet” in Verona, are considered within the philosophical background of the criticism to the structuralism, and the projection towards a horizon of deconstruction. This concept migrated from the realm of thinking, to the one of designing and form making, in its highest sense, giving strength to role and identity within the field of architecture, of the idea of “fragment” and “text” often interrupted, following Lyotard’s suggestion4, as expression of the post-modern dimension.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Baroque literature History and criticism' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography