Relevant bibliographies by topics / Masterpiece classics

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

Academic literature on the topic 'Masterpiece classics'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Masterpiece classics"

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Kinsella, Thomas, and David H. Wright. "The Vatican Vergil: A Masterpiece of Late Antique Art." Classical World 89, no. 6 (1996): 497. http://dx.doi.org/10.2307/4351863.

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D. A. Saunders. "The Derveni Krater: Masterpiece of Classical Greek Metalwork (review)." Classical World 103, no. 2 (2010): 266–67. http://dx.doi.org/10.1353/clw.0.0166.

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Cheremisinov, Georgy A. "A century of J. M. Keynes’ macroeconomic masterpiece." Izvestiya of Saratov University. New Series. Series Economics. Management. Law 21, no. 1 (2021): 4–17. http://dx.doi.org/10.18500/1994-2540-2021-21-1-4-17.

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. Introduction. In this article, the point of view that recognizes J. M. Keynes’ book “The Economic Consequences of Peace” as his best work, dedicated to the results of the Versailles Peace Conference and published in December 1919, is substantiated. The uniqueness of this publication is due to the author’s participation in the negotiation process, expressing a personal position of protest against the content of the Versailles Peace Treaty and the destructive consequences of its implementation. Scientific review. The experience of macroeconomic research of the European economy transformations
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MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.

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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describ
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Cousins, Eleri H. "An Imperial Image: The Bath Gorgon in Context." Britannia 47 (June 2, 2016): 99–118. http://dx.doi.org/10.1017/s0068113x16000131.

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ABSTRACTThis paper attempts to put the Gorgon from the pediment of the Temple of Sulis Minerva at Bath into a wider provincial context, by arguing for links between the Gorgon and first- and early second-century imitations in Gaul and Spain of the iconography of the Forum of Augustus in Rome. These imitations, part of what might be called a ‘visual language of empire’, served to connect the urban spaces of the provinces to Rome; by linking the Gorgon to this trend and setting aside interpretations of the Gorgon which have focused on his perceived status as a ‘Romano-Celtic’ masterpiece, we can
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Radzyukevich, Andrey, and Gennadi Grigorenko. "Mathematical aspects of architectural design logic of Roman Pantheon." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 1 (2020): 226–45. http://dx.doi.org/10.25205/1995-4328-2020-14-1-226-245.

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The paper tests the methodology of architectural and ethnographic research of the object of material culture-a masterpiece of world architecture of the Roman Pantheon. The method involves performing the proportional-metrological analysis of the forms using the results of three-dimensional laser scanning. The sequence of actions allowing receiving extremely reliable dimensional drawings of necessary elements of an architectural monument is presented. The analysis suggests that the design metrological module of the Pantheon was a Roman foot of 0.445 m. A detailed analysis of the size of the rotu
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Dillon, John. "A Platonist Ars Amatoria." Classical Quarterly 44, no. 2 (1994): 387–92. http://dx.doi.org/10.1017/s0009838800043846.

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The concept of an ‘art of love’ has been popularised for all time by the naughty masterpiece of Ovid. A good deal of critical attention has been devoted to this work in recent times, including some to his possible sources, but under this latter rubric attention has chiefly been directed rather to his parody of more serious types of handbook, such as an ars medica, an ars grammatica, or an ars rhetorica, than to the possibility of his having predecessors in the actual ‘art’ of love.
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Lada-Richards, Ismene. "On Taking our Sources Seriously: Servius and the Theatrical Life of Vergil's Eclogues." Classical Antiquity 38, no. 1 (2019): 91–140. http://dx.doi.org/10.1525/ca.2019.38.1.91.

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This article revisits a famous staple of the Vergilian tradition, Servius's heavily contested scholion on the actress Volumnia Cytheris's theatrical rendition of Vergil's sixth Eclogue. By shifting the focus of inquiry from the strictly historical question ‘did it happen?’ it cuts through, identifies and disentangles a nexus of prejudices which have led to the devaluing of Servius's information. The sidelining or dismissal of this piece of evidence, I argue, has more to teach us about our own culturally entrenched and discipline-inherited assumptions than about what could have happened in late
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Kemple, Thomas. "The spatial sense of empire: Encountering strangers with Simmel, Tocqueville and Martineau." Journal of Classical Sociology 11, no. 4 (2011): 340–55. http://dx.doi.org/10.1177/1468795x11415149.

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This essay takes Georg Simmel’s conceptualization of space as a form of sociation ( Vergesellschaftung) in his 1908 masterpiece, Sociology, as a framework for critically re-reading two ninteetnth-century classics in the sociology of empire. Alexis de Tocqueville’s Democracy in America (1835/1940) is shown to illustrate Simmel’s understanding of social-spatial boundaries by portraying the cultural and historical geography of America as an ‘optic space’ of racial (in)equality. Similarly, Harriett Martineau’s study of morals and manners in Society in America (1837) exemplifies Simmel’s ideas on s
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La Bua, Giuseppe. "LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS." Classical Quarterly 68, no. 2 (2018): 667–80. http://dx.doi.org/10.1017/s0009838818000551.

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Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write
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Dissertations / Theses on the topic "Masterpiece classics"

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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.

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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptation
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Cheng, Chia-Hua, and 鄭佳華. "Research and Creation of the New Platform Play of Children and Adolescents Program "Masters and Masterpieces of Classical Music" App." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/24119884362008218274.

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碩士<br>國立臺灣藝術大學<br>廣播電視學系應用媒體藝術碩士班<br>102<br>I have been engaged in television program production nearly two decades. During this period, in fact, I always want to learn more about the film and television dissemination including hardware and software. Due to my study in degree of Bachelor is not Mass Media, so I want to re-enter the campus to do wide variety of advanced studies. Therefore, I choose to apply the Graduate School of Applied Media Arts, and wanted to study in the different territory. Due to the scores of high school in command of the joint entrance examination system, I can only be
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Chin-Chun, Hsing, and 邢金俊. "Studies on Museum Visitor’s Satisfaction and Related Problems: with the “A Century of German Genius: Masterpieces from Classicism to Early Modernism, Collections of the Berlin State Museums” as Example." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/44639127165081545002.

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碩士<br>臺南藝術學院<br>博物館學研究所<br>93<br>Abstract Starting from cultural reconstruction in the 1970 and with the growing economic support, museum in Taiwan has reached the stage of prosperity. There is possibility of bring new ways of management, such as the use of the commercial marketing approach and reconsider whether its product (exhibition) would be interesting to the visitors. Therefore, methods are used to investigate the visitors’ response. In recent years, we can conclude a four stage phenomena in the museums’ business in Taiwan in order to encourage the visitors’ population. This module begi
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Books on the topic "Masterpiece classics"

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Zola, Emile. His Masterpiece. eBooksLib, 2005.

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Museum, British, and University of Texas Press, eds. Masterpieces of classical art. University of Texas Press, 2009.

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Smith, Helaine. Masterpieces of classic Greek drama. Greenwood Press, 2006.

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Thompson, Wayne A. Ikons, classics and contemporary masterpieces of mineralogy. Mineralogical Record, 2007.

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Masterpieces of classical Chinese painting. Abbeville Press Publishers, 2011.

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Stapley, Patricia. Chicken classics: Chicken masterpieces from around the world. Hearst Books, 1994.

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Brunner, Gisbert L. Audemars Piguet: Masterpieces of classical watchmaking. Kastner & Callwey, 1993.

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Julie, Davis, ed. Anime classics zettai!: 100 must-see Japanese animation masterpieces. Stone Bridge Press, 2007.

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Barr-Sharrar, Beryl. The Derveni krater: Masterpiece of classical Greek metalwork. American School of Classical Studies at Athens, 2008.

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The Derveni krater: Masterpiece of classical Greek metalwork. American School of Classical Studies at Athens, 2008.

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Book chapters on the topic "Masterpiece classics"

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Barker, Martin, Kate Egan, Tom Phillips, and Sarah Ralph. "Remembering a ‘Masterpiece’." In Alien Audiences: Remembering and Evaluating a Classic Movie. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137532060_2.

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Di Noi, Barbara. "Il Musil di Claudio Magris." In Biblioteca di Studi di Filologia Moderna. Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.14.

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This paper discusses the importance and frequency of Magris’ explorations of Musil and his major work as a novelist, Der Mann ohne Eigenschaften. It investigates the reasons why Musil’s novel is so important, and not only so for the Germanist. Indeed, Musil’s work and its interpretation can also be considered as a kind of ‘model’ for the writer that Magris would become later on in his career. The paper focuses on different features of Musil’s masterpiece, which better meet Magris’ ideal of diegesis, and somehow subvert the classic and rational paradigm of the Bildungsroman, pointing to the magic realism of a writer like Borges.
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Gensini, Niccolò. "«A’ quai Lucan seguitava». Su Boccaccio lettore della Pharsalia." In Intorno a Boccaccio / Boccaccio e dintorni 2019. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.06.

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Lucan was one of the most widely read and studied classical authors during the Middle Ages, a reference point for teaching, historiography and literature. The essay attempts to outline Giovanni Boccaccio’s profile as a reader of Pharsalia in the different ages of his literary production and in his critical judgment, placing him in the context of fourteenth-century reception. The different ways of reading Lucan’s masterpiece, from the almost literal imitation of some scenes in the Filocolo, to the punctual references to situations, images and characters in the works of maturity, testifies the inexhaustible attention of Boccaccio towards the poet of «plus quam civilia bella».
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Talbert, Richard J. A. "A Forgotten Masterpiece of Cartography for Roman Historians: Pierre Lapie’s Orbis Romanus ad Illustranda Itineraria (1845) in H. M. Schellenberg, V. E. Hirschmann, Andreas Krieckhaus, eds., A Roman Miscellany: Essays in Honour of Anthony R. Birley on His Seventieth Birthday (Gdańsk: Gdańsk University, 2008, pp. 149–56 and maps)." In Challenges of Mapping the Classical World. Routledge, 2018. http://dx.doi.org/10.4324/9780429485688-5.

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Peyré, Yves. "‘Confusion now hath made his masterpiece’: Senecan resonances in Macbeth." In Shakespeare and the Classics. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511483769.009.

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Ahmed, Omar. "Neo-realist Aesthetics." In Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0003.

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This chapter examines the neo-realist masterpiece Do Bigha Zamin (Two Acres of Land, 1953) directed by Bengali film-maker Bimal Roy. Prior to the emergence of a distinctive art cinema led by Satyajit Ray and Ritwik Ghatak, the aesthetics and ideologies of neo-realism as a distinctive cinematic approach were reflected sporadically in the socialist agenda of films such as Do Bigha Zamin. While Ghatak was busy filming his first film, Nagarik (The Citizen, 1952), and Ray was still struggling with the first part of The Apu Trilogy, it was Bimal Roy, a film-maker now considered part of populist cinema, who made the earliest attempt to integrate neo-realist aesthetics into the framework of a mainstream project. The chapter considers the state of Indian cinema before the emergence of neo-realism; the influence of the IPTA (Indian People's Theatre Association); Bimal Roy as a film-maker; and the wider context including the Bengal famine of 1943–44. It also looks at Balraj Sahni's status as one of Indian cinema's first method actors; the links to Italian neo-realist classics such as Bicycle Thieves (1948); and, finally, the various Marxist ideologies that underpin such a despairing narrative.
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Bansat-Boudon, Lyne. "Some Remarks on the Āścaryacūḍāmaṇi". У Two Masterpieces of Kūṭiyāṭṭam. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199483594.003.0002.

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Lyne Bansat-Boudon gives us a ‘thick description’ of Śaktibhadra’s Āścaryacūḍāmaṇi, from which the act Aṅgulīyāṅkam is taken. She defines powerful thematic emphases and focuses on the special expressivity of this work within the classical tradition and in light of the Nāṭyaśāstra and Abhinavagupta’s commentary. Further, she discovers surprising continuities between structural features discussed by Abhinavagupta and the living performance tradition of Kūṭiyāṭṭam. She further emphasizes that the preparation of the clearing also alludes to the pūrvaraṅga, those semi-ritual and semi-theatrical preliminaries to the performance of dramatic fiction. She concludes by saying that the yogin and the spectator of drama have in common such a ‘recognition’ of the Self (which is none other than their own Self)—a transitory experience for the spectator but one established once and for all for the yogin, who is thus nothing but an ‘emancipated spectator’.
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Singer, Peter. "8. Economics." In Marx: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780198821076.003.0008.

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‘Economics’ considers Marx’s economic theories as outlined in Capital, which he regarded as his masterpiece. Marx believed that the capitalist economic system, regarded by the classical economists as natural and inevitable, was an alienated form of human life. The importance of economics lay in the explanation it provided of the workings of this alienation and the manner in which it could be overcome. Many of Marx’s theories have been refuted by events, so were the central theses of Capital simply mistaken? We should regard Capital as the work of a critic of capitalist society. Marx wanted to expose the deficiencies of classical economics in order to expose the deficiencies of capitalism.
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Walden, Kiri Bloom. "Peeping Tom’s lasting influence and rehabilitation." In Peeping Tom. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348370.003.0006.

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This chapter is about the rehabilitation of Peeping Tom, its transformation in status from cult classic to general acceptance as a masterpiece. It also covers Martin Scorsese’s personal mission to promote the film and subsequent friendship with Michael Powell. In 1994 Dilys Powell, one of the film critics who in 1960 had written a negative review, took another look at Peeping Tom and decided she had been completely wrong to damn it. This change in opinion was representative of a general shift in attitude towards Horror films. By the 1980s the film viewing audience had changed immeasurably and Peeping Tom was no longer the shock to the system it had been in 1960. It started to gain a ‘cult classic’ following as film fans caught it on late-night TV and Scorsese helped spearhead a critical reappraisal of the film.
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Stewart, Andrew. "Conclusion." In The First Victory. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300208559.003.0011.

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This concluding chapter discusses how the campaign in East Africa was a great success both for the British and Commonwealth forces and the commanders who led them. A massive pincer movement through Italian Somaliland and Ethiopia converged with another that had advanced through Eritrea, and ended with a final series of assaults against a remote Italian mountain fortress. With a speed and comprehensiveness that was not foreseen in the original plan, an eventually significant victory came about gradually through the development of events and the overwhelming of a confused and progressively shattered opponent. This was the unanimous view of the small number of published eyewitness accounts where it was described as a military masterpiece of its time, whilst another conclusion stated that the campaign would go down in military history as a classic.
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