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Journal articles on the topic 'Classicism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Malloch, S. J. V. "THE CLASSICISM OF HUGH TREVOR-ROPER." Cambridge Classical Journal 61 (August 26, 2015): 29–61. http://dx.doi.org/10.1017/s1750270515000068.

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Hugh Trevor-Roper was educated as a classicist until he transferred to history, in which he made his reputation, after two years at Oxford. His schooling engendered in him a classicism that was characterised by a love of classical literature and style, but rested on a repudiation of the philological tradition in classical studies. This reaction helps to explain his change of intellectual career. His classicism, however, endured: it influenced his mature conception of the practice of historical studies, and can be traced throughout his life. This essay explores a neglected aspect of Trevor-Rope

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2

Bongard-Levin, Grigorij Maksimovič. "Classics, classicism, civilization." Bulletin de la Classe des lettres et des sciences morales et politiques 18, no. 7 (2007): 341–46. http://dx.doi.org/10.3406/barb.2007.38992.

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3

Ternova, Maryna. "Theoretical heritage of English classicists: art history aspect." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, no. 22 (2021): 118–28. http://dx.doi.org/10.34079/2226-2830-2021-11-22-118-128.

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The article is dedicated to the analysis of the theoretical heritage of English classicists, which has taken a prominent place in the history of one of the important stages of European cultural creation. It has been noted that covering the difficult period between the 16th - early 19th centuries, classicism demonstrated the stability of both aesthetic and artistic principles, based on which various classicist models developed. It has been proved that among the Italian, French, and German models of classicism, the English one was distinguished by its integrity and scale. Besides, having insigni

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4

BULANCEA, Gabriel. "CLASSICISM AND NEO-CLASSICISMS IN THE HISTORY OF MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (2021): 115–22. http://dx.doi.org/10.26520/mcdsare.2021.5.115-122.

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In one of his articles, Octavian Paler draws attention in a metaphorical-mythologizing manner upon one of the risks taken by those who chose tradition as their source of inspiration. The epigonic spirit, because this is what he refers to, cannot escape idolatrising tradition, phenomenon that happens within an alterity of the creative identity, within the pettiness of controlling the artistic means, within the infatuation of his own image which is placed under the protection of the great creative figures. The epigone masters in an embryonic form some techniques which, for various reasons, he ca

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5

CHAPIN, KEITH. "SCHEIBE’S MISTAKE: SUBLIME SIMPLICITY AND THE CRITERIA OF CLASSICISM." Eighteenth Century Music 5, no. 2 (2008): 165–77. http://dx.doi.org/10.1017/s1478570608001474.

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ABSTRACTIt is as a classicist that Johann Adolph Scheibe has entered the annals of music history, either as a propagator of the principles of French literary classicism, or as a champion of a ‘galant’ style that later critics would view as a foundation for a German musical classicism. But if Scheibe insisted on a quality of striking simplicity, using words clearly indebted to those of Nicolas Boileau, the doyen of seventeenth-century French critics, he was no classicist according to the French model. While all classicists depend to a certain degree on the regulation of their material – for suc

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6

Peppis, Paul. "Re-gendering Smart Classicism: Franklin P. Adams, Dorothy Parker, and the Middlebrow Classical Verse Revival." Modernist Cultures 17, no. 2 (2022): 221–45. http://dx.doi.org/10.3366/mod.2022.0369.

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This essay analyses a strain of modern classicism other than the high modernist classicism of Hulme, Pound, and Eliot. Its practitioners were middlebrow writers associated with the newspaper columns and ‘smart magazines’ thriving in New York City during the 1910s and 1920s. Led by the columnist, popular poet, and Algonquin Round Table fixture, Franklin P. Adams, ‘smart classicism’ took its inspiration from ancient Rome's elegists, satirists, and epigrammatists. Adams's smart classicist poems complicate current accounts of early twentieth-century American poetry, of modern(ist) classicism, and

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Chun, Tarryn Li-Min. "Surface Classicism." Prism 20, no. 2 (2023): 462–86. http://dx.doi.org/10.1215/25783491-10992800.

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Abstract This article examines digital classicism in contemporary Chinese performance through the case study of an excerpt of the dance-drama Zhici qinglü 只此青綠 (Journey of a Legendary Landscape Painting) performed at the 2022 CCTV Spring Festival Gala. It argues that the mobilization of digital performance technologies in Zhici qinglü and other contemporary large-scale performance in the PRC generates what might be termed “surface classicism”—an engagement with the past that sublimates elements of classical art and literature into the realm of digitally enhanced visuality. Surface classicism l

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8

Faragher, M. "The fourth ‘R’ is rooted belief: Rex Warner and the politics of revisionist classicism." Literature & History 28, no. 2 (2019): 214–30. http://dx.doi.org/10.1177/0306197319870377.

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This article traces the historical devaluation of classicism within British academic and intellectual circles in the interwar years. I argue that the political tensions of the 1930s contributed to the movement away from a traditional classical approach and towards one informed by political and civic responsibility. In his novels and essays, Rex Warner’s focus on pedagogy repeatedly suggests that Latin or Greek tutelage, without the necessary focus on the liberal democratic values, can inadvertently bolster right-wing fascistic thought. Concern about classicism’s value within modern democracies

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9

Canovas, Frédéric. "De Gide à Denis ou de Cézanne à Athman : la relation peintre–écrivain face à la question du classicisme." Romanica Wratislaviensia 64 (October 27, 2017): 57–73. http://dx.doi.org/10.19195/0557-2665.64.6.

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FROM GIDE TO DENIS OR FROM CÉZANNE TO ATHMAN : THE PAINTER–WRITER RELATIONSHIP AND THE ISSUE OF CLASSICISMIn 1900, French writer André Gide purchased Maurice Denis’s Homage to Cézanne, nowadays in the collection of Musée d’Orsay. Considered a turning point in Denis’s career, the painting celebrates the new values of classicism that Denis discovered in the company of Gide while in Rome two years earlier. This essay discusses the similarities between the painter’s and the writer’s own definitions of classicism, while focusing also on the way in which each one of them applied this definition to

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10

Eichholz, Patrick. "Dadaism and Classicism in The Waste Land." Twentieth-Century Literature 67, no. 3 (2021): 269–92. http://dx.doi.org/10.1215/0041462x-9373720.

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Out of the wreckage of the First World War, classicism and dadaism charted two opposing paths forward. While one movement sought to overturn the institutions complicit in prolonging the war, the other sought to buttress these same institutions as a safeguard against the chaos of modern life. This essay studies the peculiar convergence of these contradictory movements in The Waste Land. The article provides a full account of Eliot’s postwar engagement with dadaism and classicism before examining the influence of each movement on The Waste Land. Walter Benjamin’s theory of baroque allegory will

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11

Bagina, Elena. "On undying classicism and subverters of foundations." проект байкал, no. 79 (April 6, 2024): 96–103. http://dx.doi.org/10.51461/issn.2309-3072/77.2294.

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Directions (styles) in culture have different reserves of strength and different inertia. Among them there is a unique one capable of revival. It is classicism, which is characterized by a timeless understanding of the laws of harmony and beauty based on the forms and images of ancient art of Greece and Rome. Classicist thinking and classicism did not leave European culture in the 20th and 21st centuries, but its forms changed. The grafting of art nouveau, avant-garde and postmodernism into classical art and architecture did not pass without a trace. Antagonists shook the established norms and

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12

y Royo, Alessandra Lopez. "Classicism, Post-Classicism and Ranjabati Sircar’s Work:." South Asia Research 23, no. 2 (2003): 153–69. http://dx.doi.org/10.1177/0262728003232003.

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13

Olson, Todd. "Skeletal Classicism." Representations 151, no. 1 (2020): 74–95. http://dx.doi.org/10.1525/rep.2020.151.4.74.

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Modern critics of French Classicism in the visual arts were indebted to a formalism derived from the natural sciences. A nineteenth-century biological discourse identified hidden analogies rather than visual similarities among different specimens, whether animals or paintings. An ambivalence to the use of biological metaphors in North American art history may be traced back to this theoretical genealogy.

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14

Anderson, Robert, John Hardy, and Andrew McCredie. "European Classicism." Musical Times 126, no. 1710 (1985): 462. http://dx.doi.org/10.2307/964310.

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15

Powell, J. G. F. "Welsh Classicism." Classical Review 49, no. 1 (1999): 242–44. http://dx.doi.org/10.1093/cr/49.1.242.

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16

O’Rourke, Stephanie. "Patchwork Classicism." Oxford Art Journal 40, no. 3 (2017): 501–5. http://dx.doi.org/10.1093/oxartj/kcx033.

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17

Hyde, D. "Pleading classicism." Mind 108, no. 432 (1999): 733–35. http://dx.doi.org/10.1093/mind/108.432.733.

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18

Dmitrieva, Nina L. "Boileau — Voltaire — Pushkin: About the poem “French rhymers’ strict judge…”." Vestnik of Saint Petersburg University. Language and Literature 21, no. 2 (2024): 344–50. http://dx.doi.org/10.21638/spbu09.2024.205.

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Pushkin’s unfinished poem “French rhymers’ strict judge…” (1833) is an epistle addressed to Nicolas Boileau-Despréaux, the famous theorist of French classicism. In 1820s–1830s, when the Russian literary milieu was fascinated by romanticism, the significance of Boileau’s works was being reassessed and his name began to be perceived as a symbol of the false idea of art. Pushkin, on the contrary, calls him to be his “guide”. The poem is intentionally written in classic Alexandrine verse, in the form of a classicist appeal to a grand master. At the same time, the poet calls for support on another

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19

Johnson, Robert. "Bakst on classicism: “The paths of classicism in art”." Dance Chronicle 13, no. 2 (1990): 170–92. http://dx.doi.org/10.1080/01472529008569035.

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20

Terletska, D., and V. Shpagin. "Identification of the architectural style of the Red Building of the Taras Shevchenko National University of Kyiv for Landscape Design aims." Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 77, no. 1 (2019): 68–71. http://dx.doi.org/10.17721/1728_2748.2019.77.68-71.

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The article deals with the identification of terms that define the style of the Main Building of the Taras Shevchenko National University of Kyiv in domestic and foreign scientific literature, for their further use in the search for architectural analogues for the purposes of landscape design. Since the development of classics in architecture is characterized by heterogeneity in different countries and at different times, the study is based on an analysis of the periodization systems of development of the classical style adopted within domestic and foreign scientific schools. At the first stag

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21

Zerner, Henri. "Classicism as Power." Art Journal 47, no. 1 (1988): 35. http://dx.doi.org/10.2307/776903.

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22

Huddleston, Gregory H. "Classicism and Romanticism." English Journal 82, no. 4 (1993): 70. http://dx.doi.org/10.2307/820856.

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23

Dundas, Judith. "Classicism and ideology." International Journal of the Classical Tradition 4, no. 4 (1998): 571–80. http://dx.doi.org/10.1007/bf02689193.

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24

Zerner, Henri. "Classicism as Power." Art Journal 47, no. 1 (1988): 35–36. http://dx.doi.org/10.1080/00043249.1988.10792390.

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25

Tureček, Dalibor. "Czech Literary Classicism?" Bohemica Olomucensia 8, no. 1 (2016): 8–35. http://dx.doi.org/10.5507/bo.2016.002.

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26

Huddleston, Gregory H. "Classicism and Romanticism." English Journal 82, no. 4 (1993): 70–71. http://dx.doi.org/10.58680/ej19937864.

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27

Tang, C. "Ceremonial Theater and Tragedy from French Classicism to German Classicism." Comparative Literature 66, no. 3 (2014): 277–300. http://dx.doi.org/10.1215/00104124-2764058.

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28

Ossaiga, Udoka Peace. "Western Classicism and Western Art Music Conducting in Southern Nigeria." African Journal of Humanities and Contemporary Education Research 15, no. 1 (2024): 271–81. http://dx.doi.org/10.62154/g9yckh64.

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Western conducting involves the use of diverse forms of body language to direct ensembles. Although conducting originated in the Middle Ages, its standardization in eighteenth-century classical Europe has left observable classical principles that now define the art, even in twenty-first century southern Nigeria where Western conducting is utilized to direct Western art music. Although the use of Western conducting to direct European art music predates the twenty-first century, how Western conducting reflects classicism and its spirits has not engrossed adequate scholarly discourse, especially

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29

Peay, Ford. "What's in the Shadow of a Name? Cook-Lynn's Invocations of Greek and Roman Classics in the Aurelia Trilogy." Studies in American Indian Literatures 35, no. 3-4 (2023): 94–120. http://dx.doi.org/10.1353/ail.2023.a928911.

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Abstract: "Though classicists have always believed in endings," Elizabeth Cook-Lynn writes in Aurelia , "the real Dakotah storytellers like Aurelia do not." Throughout her 1999 novella collection, Aurelia: A Crow Creek Trilogy , Cook-Lynn enacts a project of literary nationalism. Cook-Lynn also juxtaposes the Dakota topics and literary practices of her narrative against occasional but pointed references to Greek and Roman antiquity and to classicism: the scholarly mode that has enshrined Greek and Roman antiquity in both etiologies and ideals of "Western civilization" for centuries. A superfic

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30

Ziolkowski, Jan. "Old Wives' Tales: Classicism and Anti-Classicism from Apuleius to Chaucer." Journal of Medieval Latin 12 (January 2002): 90–113. http://dx.doi.org/10.1484/j.jml.2.304172.

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31

Kalbfleisch, Elizabeth. "Anxieties of Legitimacy: The Origins and Influence of the “Classicist Stance” in American Rhetoric Studies." Journal for the History of Rhetoric 16, no. 1 (2013): 82–106. http://dx.doi.org/10.5325/jhistrhetoric.16.1.0082.

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ABSTRACT This article describes an origin of the “classicist stance,” Nan Johnson's term for the emphasis on the classical past in American rhetoric historiography. It argues that adherence to the classical past arises from an anxiety about conducting research evident in the field in the early twentieth century, an anxiety that develops into fears about institutional legitimacy later in the century. The article closes by urging scholars of rhetoric in the modern era to embrace print modernity as their researh framework, rather than classicism.

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32

Markussen, Åse. ""Sang og musik ledsaget af Amor" (1861): Et gjenoppdaget relieff av den norske senklassisisten Ole Henriksen Fladager." Studia Scandinavica, no. 7(27) (December 15, 2023): 77–92. http://dx.doi.org/10.26881/ss.2023.27.06.

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Bertel Thorvaldsen (1770–1844) was the Nordic region’s leading sculptor in the first part of the nineteenth century, and exerted a strong influence on Nordic and European sculpture. He is said to have revived the relief form, and was called the “Patriarch of Basreliefs”. The relief tradition was weak in Norway during late classicism, and tondi (relief medallions) were few. The article is devoted to a recently rediscovered tondo by the Norwegian late classicist Ole Henriksen Fladager (1832–1871), and discusses the extent to which the relief is influenced by Bertel Thorvaldsen’s tondi.

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33

Negulyaeva, T. V., E. S. Dudina, and M. D. Maiskova. "Classicism in the Saratov region." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 26, no. 2 (2024): 61–68. http://dx.doi.org/10.31675/1607-1859-2024-26-2-61-68.

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Saratov’s classicism is the first stage of its capital construction. It plays a major role in the formation of the architectural environment of the historical center. Classicism also influences the formation of the central part of the city. The article considers the processes of organization and self-organization of buildings in Saratov during the period of Classicism.Purpose: Identification of classicism buildings in Saratov.Methodology/approach: The main levels of scientific knowledge are accepted: a theoretical method involving the study of documents describing the architecture of classicis

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34

Zaуtseva, Nataliya Vladimirovna. "The concept of the elusive "le je ne sais quoi" as a category of gallant aesthetics." Культура и искусство, no. 7 (July 2022): 1–11. http://dx.doi.org/10.7256/2454-0625.2022.7.36085.

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Since the middle of the last century, there have been disputes around the classicist doctrine, which blur the seemingly clear picture of the art of the XVII century and show that along with the aesthetics of classicism, the aesthetics of rules and order, there was another gallant aesthetics. In this dispute about classicism and aesthetic theories of the XVII century, the concept of the "elusive" is given a special place, since it demonstrates the ambiguity and complexity of the art of this period. The concept of the "elusive" is at the heart of the eternal dilemma of the art of the XVII centur

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35

Sommaruga, Cornelio. "Humanity: Our Priority Now and Always." Ethics & International Affairs 13 (March 1999): 23–28. http://dx.doi.org/10.1111/j.1747-7093.1999.tb00323.x.

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Thomas Weiss oversimplifies when he identifies the International Committee of the Red Cross (ICRC) with the classicist position of nonconfrontation. The ICRC defines humanitarian action to include advocacy through public and private channels to protect individuals and communities against violations of international humanitarian law. Weiss rightly points out the difficulty of making belligerents, or “unprincipled actors,” understand the value of nonpartisan and impartial action.Still, the ICRC remains committed to finding new language for communicating the principles of humanitarian action and

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36

Pantović, Sanja R., and Mirko R. Jeremić. "ANALIZA SOLO PESME NA STIHOVE JOHANA VOLFGANGA GETEA U ODABRANIM DELIMA VOLFGANGA AMADEUSA MOCARTA, LUDVIGA VAN BETOVENA I FRANCA ŠUBERTA." Lipar XXII, no. 76 (2021): 149–64. http://dx.doi.org/10.46793/lipar76.149p.

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The history of music points to the fact that vocal music from the fif- teenth to the nineteenth centuries was concentrated on expression of emotions of composers. At the beginning of the nineteenth century, in 1814, Austrian composer Franz Schubert, with his song Gretchen am Spinnrade marked the beginning of the genre of song in Romanticism – Lied, which shows the link between the character of poetry and the character of music. By analysing the structure of selected songs W. А. Моzart – Das Veilchen, L. V. Beethoven – Freudevoll und leidvoll and Franz Sshubert – Gretchen am Spinnrade and Erlkö

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37

Lekatsas, Barbara. "Between Classicism and Surrealism." International Journal of the Arts in Society: Annual Review 4, no. 4 (2009): 229–42. http://dx.doi.org/10.18848/1833-1866/cgp/v04i04/35691.

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38

Vickers, Brian. "Ben Jonson's Classicism Revisited." Ben Jonson Journal 21, no. 2 (2014): 153–202. http://dx.doi.org/10.3366/bjj.2014.0107.

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39

Roy, Louis. "Overcoming Classicism and Relativism." Lonergan Workshop 27 (2013): 239–62. http://dx.doi.org/10.5840/lw20132756.

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40

Muscio, Giuliana. "The commerce of classicism." Quarterly Review of Film and Video 15, no. 3 (1994): 57–69. http://dx.doi.org/10.1080/10509209409361439.

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41

Rosslyn, Felicity. "Classicism in the Balkans." Cambridge Quarterly XV, no. 1 (1986): 89–94. http://dx.doi.org/10.1093/camqtly/xv.1.89.

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42

Taruskin, Richard. ""Classicism" a la russe." Eighteenth-Century Studies 39, no. 2 (2006): 279–82. http://dx.doi.org/10.1353/ecs.2005.0069.

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43

Dominik, William J. "Classicism in South Africa." Acta Classica 62, no. 1 (2019): 250–68. http://dx.doi.org/10.1353/acl.2019.0012.

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44

Mathias, R. "Exploring the New Classicism." Études maritainiennes / Maritain Studies 17 (2001): 79–86. http://dx.doi.org/10.5840/maritain2001176.

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45

Sankar, M. "Paththuppaattu in Classicism View." Shanlax International Journal of Tamil Research 8, no. 2 (2023): 76–88. http://dx.doi.org/10.34293/tamil.v8i2.6728.

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Government of Tamil Nadu established the classical character of Tamil. Tamil Language is ancient; Rich in many literary grammars; The classical merit of Tamil has been proved by the collaboration of various scholars as traditional. Today 41 texts are listed by the Government of Tamil Nadu as classically deserving. Decimals have a unique, special place in that list. Because kings or vultures are the leaders of the song. The researcher is of the opinion that the texts (Ten Idylls) must have been song by royal poets. Nevertheless, the tenth is a repository of ancient Tamil culture, both internal

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46

Yang, Zhiyi, and David Der-Wei Wang. "Classicism in Digital Times." Prism 20, no. 2 (2023): 249–64. http://dx.doi.org/10.1215/25783491-10991578.

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Abstract This article, the introduction to the special issue, proposes “Sinophone classicism” as a new paradigm to investigate Chineseness as an identity shaped by cultural and digital memories in the global cyberspace. Digital technology has drastically transformed the world we inhabit, particularly the way in which we symbiotically remember and imagine our cultural legacies and visions. To rethink the relations between the humanities and digital technicity, we seek to invoke “classicism” as a keyword through which to engage questions from temporality to virtuality and “Sinophone” as a topos

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47

Redner, Harry. "Dialectics of Classicism: The birth of Nazism from the spirit of Classicism." Thesis Eleven 152, no. 1 (2019): 19–37. http://dx.doi.org/10.1177/0725513619850915.

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This article is an attempt to revise and extend two prior conceptions: Adorno and Horkheimer’s dialectic of Enlightenment and Murphy and Robert’s dialectic of Romanticism. It traces a developmental trajectory within German Kultur, starting around the mid-18th century, that goes through three moments or phases: the Grecophilia of Goethe and Schiller, the Grecomania of Hölderlin, Schelling and early Hegel, and the Grecogermania of Wagner, Nietzsche and Heidegger. The latter provided the ideological underpinning of Hitler’s Nazism. Thus the paper aims to show that Nazism had deep roots within the

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48

Marchand, Suzanne. "Porcelain: another window on the neoclassical visual world." Classical Receptions Journal 12, no. 2 (2019): 200–230. http://dx.doi.org/10.1093/crj/clz026.

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Abstract This article surveys the European, and especially German, porcelain industry’s output of classicizing figurines between about 1740 and 1900 in order to comprehend what vision of the classics Europeans wished to bring into their homes. First made by Italians, classicizing figurines and cameos became a German (and English) specialty, and helped to knit together European luxury markets as well as to spread familiarity with classical iconography to northern and eastern climes. Made for aristocratic courtiers, the first pieces reflect a ‘libertine’ classicism; by about 1790, this style had

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49

Kuzmina, Marina D. "BUSINESS VS FRIENDLY LETTER UNDER THE PEN OF RUSSIAN CLASSICISTS (EPISTOLARY BY A. P. SUMAROKOV)." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 18–27. http://dx.doi.org/10.20323/2499-9679-2020-3-22-18-27.

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The article is devoted to the study of one of the milestones in the development of the genre of writing – the epistolary heritage of Russian classicists, in particular, A. P. Sumarokov, who was, as is known, among the largest representatives of classicism. Being engaged not only in literary practice, but also in theory, he himself brought writing outside of literature, described it in the treatise «On the Russian Language», while literary genres – in the treatise «On Poetry». This freed the author-epistolographer from complying with the requirements of classicism, gave freedom unknown to other

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50

Sreejith, S. G. "Legality of the Gulf Ban on Qatari Flights: State Sovereignty at Crossroads." Air and Space Law 43, Issue 2 (2018): 191–203. http://dx.doi.org/10.54648/aila2018013.

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This Note explores, within an analytical framework, the ban on Qatari flights (as part of the 2017 Qatar Diplomatic Crisis) by Saudi Arabia and a few other Middle Eastern States. Grappling with the ban, which is based on the sovereignty of States in their airspace and columns above it, informs that international air law has a fixation for a certain classicism that makes resolution of legal issues difficult in the face of contemporary realities. This Note problematizes that difficulty, revealing that the ban is motivated by classicism; which is then juxtaposed with the resistance of Qatar to th

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