Relevant bibliographies by topics / New classicism

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

Academic literature on the topic 'New classicism'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "New classicism"

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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 their own work.
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Congdon, Tim. "NEW CLASSICISM AND NEW KEYNESIANISM HAVE FAILED." Economic Affairs 29, no. 3 (September 2009): 105. http://dx.doi.org/10.1111/j.1468-0270.2009.01933.x.

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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 new techniques of negotiation. In this regard the ICRC is classicist. But this classicism places the ICRC on the side of the solidarists in defending the interests of individuals and communities in distress, and on the side of the maximalists in its advocacy of international humanitarian law.
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Разиньков, Egor Razinkov, Чернышев, and Aleksandr Chernyshev. "Furniture history in style of classicism." Forestry Engineering Journal 5, no. 4 (December 8, 2015): 129–37. http://dx.doi.org/10.12737/17411.

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Classicism (neoclassicism) of the end of the 18 century is a tribute of great century of furniture art to antique art forms. In France where new style is called as Louis 16´s style, classicism was the last among "royal styles". The principle of a periodization "on kings" carries, naturally, very conditional character. For example, it is impossible to determine a chronological framework of classicism by the beginning of board and year of death of the king Louis 16 (1774-1789). The similar periodization is even less justified for other countries.
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Marchand, Suzanne. "Porcelain: another window on the neoclassical visual world." Classical Receptions Journal 12, no. 2 (December 16, 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 largely been displaced by a more serious and exacting (but also cheaper!) ‘chaste’ classicism exemplified by Jasperware and white biscuit porcelains. After 1815, industry conditions and the disinterest of new consumers led to the freezing of classicizing porcelains in this latter, ‘chaste’ idiom. As a widely-owned household good by the mid-nineteenth century, porcelain provided an important, if narrow, form of classical education that has left its mark on the tourist industry, and on our perceptions of the classical world.
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Greenwood, E. "Re-rooting the classical tradition: new directions in black classicism." Classical Receptions Journal 1, no. 1 (January 1, 2009): 87–103. http://dx.doi.org/10.1093/crj/clp005.

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van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry." New England Quarterly 90, no. 3 (September 2017): 418–41. http://dx.doi.org/10.1162/tneq_a_00626.

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Two exceptional colonial poems, Thomas Morton's version of the events around his Maypole at Merrymount and Benjamin Tompson's epics on King Philip's War, are heavily classical, especially in their descriptions of Native Americans. The essay examines the advantages that the use of classical comparisons have over the more common tropes of Biblical typology.
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Babinovich, N. U., and E. V. Sitnikova. "Classicism and city planning in Russia and Siberia." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 22, no. 3 (June 29, 2020): 23–36. http://dx.doi.org/10.31675/1607-1859-2020-22-3-23-36.

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The paper considers the general trends in classicism and city planning in Russia and Siberia. The prerequisites for the classicism development are studied on the example of the famous architectural monuments; the main style characteristics are considered. This study concerns the problems of preserving historic buildings in the cities of Russia and the loss of valuable building elements. Classical architecture offers simple clean design widely used in the 19th century and recognized as a background building in all cities of the country. It was most of all subject to destruction during the Soviet period. At present, these objects are rare and identify the architectural era. Although many authors study classicism in the cities of Russia and Siberia, the city of Tomsk has not been studied enough.Comparative and architectural analyses are used to study the classicism development in the capitals of Russia, Siberia and in Tomsk, in particular. It is shown how the main public buildings are designed and built in the cities of Russia and in the city of Tomsk in accordance with the approved projects.It is shown that having passed the main formation stages, classicism becomes the national style by the middle of the 19th century. The need to build public buildings in all provincial cities of the country, new types of buildings such as magistrates, seats, banks, stock exchanges and others, change the architectural style in Russia. The model projects allow in a short time to carry out a large-scale economical and technically correct construction, which contributes to the stylistic integrity of the Russian cities.
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Babinovich, N. U., and E. V. Sitnikova. "CLASSICISM IN HOUSING DEVELOPMENT IN EUROPEAN RUSSIA AND SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 9–23. http://dx.doi.org/10.31675/1607-1859-2019-21-2-9-23.

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The article discusses the general trends in the development of classicism in the architecture of Russia and Siberia. Prerequisites for this development are studied and the examples of famous architectural monuments and the main styles are given. The relevance of this study is conditioned by the problems of preserving historic buildings in Russia and the loss of valuable building elements. Classical architecture is characterized by strict forms widely adopted in the 19th century. For a long time, it was recognized as a background housing and was destructed in the Soviet period. At present, these objects are rare and carry information about the architectural era. Although many authors study the classicism in Russia, it is not yet completely studied, in particular, in Tomsk-city.The purpose of the article is to study the classicism stages in Russia and development in Tomsk. The article uses the methods of comparative and architectural analyses. It is shown how the main public buildings are designed and built in Russia and Tomsk, in particular, in accordance with the approved projects.It is shown that classicism developed in several stages and by the middle of the 19th century became the national style. A need to build state-owned buildings in the provincial cities, the emergence of new types of buildings, such as magistrates, offices, banks, exchanges modified the architectural and artistic direction.Standard projects allow developing the efficient and technically competent housing in a short time, which contribute to the stylistic integrity of the Russian cities. Due to the significant loss of buildings of the classicism period, the existing buildings are the most ancient and valuable objects that require studying and preservation.
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Mocevičius, Albinas. "KLASICISTINIO STILIAUS PARKŲ MENO TENDENCIJOS BEI RAIDA EUROPOJE IR LIETUVOJE." JOURNAL OF ARCHITECTURE AND URBANISM 33, no. 3 (September 30, 2009): 173–82. http://dx.doi.org/10.3846/13921630.2009.33.173-182.

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

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Pliam, Steven L. "Cosmographic Origins for a New Classicism." Thesis, Virginia Tech, 1994. http://hdl.handle.net/10919/35809.

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The spirit of the Latin 'classicus' as a broad ideology has in one sense existed through every age of modern human history. It could begin to be described as an attitude that is resistant to sudden change and is not interested in dramatic breaks with tradition or the avant garde. It embraces the methodical evolution of aesthetic and artistic values that are connected at their origin to a cosmography which is conceived within every given age. This large-scale conception of existence which encompasses all of what is known in the cosmos is a primary manifestation of every culture. Several systems of ideas are given by 20th century theoretical physics. They are the foundation of our science and provide an explicit basis for all branches of scientific endeavor. Taken as a whole, they constitute the current understanding of our universe--our world. What emerges from the ideas given by relativity theory, quantum physics, string theory, and the mathematics of astro-physics is a profound and far reaching cosmography resembling nothing like that of the Renaissance or of classical Greece. Non-Euclidean geometry and the math of higher dimensional space begin to break free of their abstract character as these symbolic disciplines now inform and reconcile the reality of cosmic space. It is therefore appropriate to understand the cosmography of today in relation to the new science paradigm. As cosmic space and conceptual space have always been intimately connected in architecture of the classical spirit, this new cosmography then becomes a viable basis for reestablishing a classical expression.
Master of Architecture
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Stewart-MacDonald, Rohan Horace. "Towards a new ontology of musical classicism : sensationalism, archaism and formal grammar in the music of Clementi, Hummel and Dussek - and parallels with Haydn, Beethoven and Schubert." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401533.

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Cappelle, Laura. "Nouveaux classiques. La création de ballets dans les compagnies de répertoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA157.

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Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique
Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today
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Roberts, Deborah Hazel. "The early chamber music of Darius Milhaud : style and stucture." Thesis, King's College London (University of London), 1991. https://kclpure.kcl.ac.uk/portal/en/theses/the-early-chamber-music-of-darius-milhaud--style-and-stucture(7ade4439-0553-4616-8124-537582654dbc).html.

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Steve, Michel. "Rene sergent et le neo-classicisme 1900." Paris 4, 1993. http://www.theses.fr/1994PA040061.

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L'architecture de rene sergent (1865-1927) est peu connue. Cet artiste a etudie dans un contexte de commandes privees puisqu'il a commence comme collaborateur de sanson. Sa formation et ses tendances en font le meilleur representant de l'ecole neo-classique historiciste, a clientele de particuliers fortunes. L'evocation de l'oeuvre de ses confreres plus celebres comme les destailleur, parent, sanson et mewes, permet de cerner les differentes sensibilites de ce courant ainsi que ses fondements ideologiques, financiers et artistiques (premiere partie). La production de l'architecte est constituee d'un nombre appreciable de chateaux, crees ou remanies, et d'une majorite d'hotels particuliers parisiens, son programme de predilection. Les immeubles de rapport et professionels traduisent dans une moindre mesure la meme sensibilite neo-classique. Le catalogue raisonne de l'ensemble de sa production (seconde partie) permet de caracteriser l'evolution de son style depuis un neo-louis xiv composite jusqu'au neo-louis xvi epure des annees 1920. Le style mis au point est egalement analyse (troisieme partie) d'un point de vue purement architectural. Une attention particuliere est portee aux modalites d'imitation des architectes du xviiie siecle et surtout de a. J. Gabriel, obsession de sergent. Plus largement, le principe de l'imitation est etudie. L'ensemble de ce travail, outre le catalogue de l'oeuvre de sergent, tend a montrer le caractere creatif de l'imitation formelle en architecture
The architect rene sergent (1865-1927) begun his work as sanson's collaborator. Trough his studies he appears like the best architect of the french historicist neoclassical group. Most of his customers were private and rich. The evocation of the most famous works of the architects in the same style illustrates the different expressions of this tendance and the ideological, financial and artistic backgrounds (first part). Sergent's work includes some castles, built or restored, and many parisians private hotels, what he prefered. The complete list of his work (second part) showes the evolution of his style, from a neo-louis xiv style to a neo-louis xvi. The third part is an analysis of sergent's architectural style and particularly his imitation of the xviiith century's architects
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Suen, Chung Keung Daniel, and 孫頌強. "Taoism in project management: a post-modernist approach or neo-classicism?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31251560.

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Zelikovsky, Melanie, and Melanie Zelikovsky. "Beyond the Sun: A New Approach to the East-West Orientation of Archaic Greek Temples." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620699.

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The east-west alignment of Archaic Greek temples is a feature of their architecture that has not been discussed within its archaeological or historical contexts. Scholars have attempted to discern reasons behind the fact that most Archaic Greek temples face east. But, these explanations are limited in that they do not take into account that an east-west alignment persisted as an architectural feature from the Late Bronze Age through to the Archaic Period. The rise of the Greek polis or city-state also plays a vital role in the development of Greek sacred architecture; by the end of the eighth century when aristocratic control results in the unification of villages to form the polis as we know it, temple architecture develops into the canonical Doric or Ionic forms. Orientation is no exception to this standardization.I have conducted a statistical analysis of 84 cult buildings from the Late Bronze Age, Early Iron Age, eighth century BCE, and Archaic period. Not only is there a consistent trend for Greek cult buildings to be aligned along an east-west axis, but this trend is not random. The deliberate choice to align temples and cult buildings on this axis certainly has religious significance and may well incorporate many factors, such as topographical and climatic concerns, and the position of various astronomical bodies. However, this thesis provides not only a new interpretation of Greek temple orientation, but also a survey of Greek architectural trends that span a millennium.
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Dotte, Isabelle. "Architectures balnéaires à Arcachon. Du néo classicisme aux prémices de l'art nouveau." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1034/document.

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Par tradition, les habitants de La Teste se baignaient depuis bien longtemps sur la plage d’Arcachon, où, dès le début du XIXe siècle, une cabane de résinier fut louée à des « estrangers » ayant osé s’aventurer sur ces rives inconnues. Il fallut attendre les années 1820 pour que les premiers hébergements liés aux bains de mer soient mis en place. Leurs constructions répondaient aux codes néo-classiques, conformes aux pratiques architecturales de l’époque. Les premiers « chalets », influencés par ce style, surent, néanmoins apporter quelques particularités. Mais ce ne fut qu’avec l’invention de la Ville d’Hiver, quartier de cure édifié à partir de 1863, pour accueillir des malades atteints de tuberculose, que la variété architecturale fut consacrée. Chalets suisses, castelets, formes éclectiques, prirent place au milieu des pins, dans les dunes, offrant à la récente commune d’Arcachon (1857), une nouvelle dimension médicale, et un élan architectural au goût du jour. Le style pittoresque obtint, là, un succès à la mesure de celui qu’il eut sur toutes les plages de l’Atlantique et de la Manche, envahissant progressivement toute la ville. Jusqu’à l’apparition des formes régionales – néo-landaise, néo-basque-, à partir de 1920, il fut le style employé dans toutes les réalisations des nouveaux quartiers, de la ville d’automne ou de printemps, et du Moulleau, démontrant ainsi sa parfaite adaptation au milieu
Traditionally, the inhabitants of La Teste used to bathe on the beach of Arcachon. As early as the beginning of the 19th century, a wooden hut was rented out to foreigners who dared to visit this unknown shore of the bay. The first accommodations in relation with sea bathing appeared not before the 1820 s’. These buildings reflected the neoclassical features, according to the architectural standards of the time. Most of the first 'chalets' were built in the same style, some of them showing some additional details. An architectural diversity was really settled in 1863 with the creation of the Winter Town, a medical district designed to cure tuberculosis. 'Swiss chalets', cottages and other eclectic constructions erected among the pines on the sand dunes gave to the recent town of Arcachon (1857) a new medical dimension and a modern architectural development. As anywhere else along the western shores of France, the picturesque style was so successful as to invade every part of the town. Till local styles - néo-landais, néo-basque- appeared in the1920 s, it was the only one used in the buildings of the new districts in the autumn and spring towns, as well as in Moulleau. Which can mean it was the best answer at this time, in terms of seaside architecture
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Morris, Allan Scott. "The wellsprings of neo-classicism in music, the nineteenth-century suite and serenade." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0011/NQ41477.pdf.

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Cha, Joohang. "The Civilizing Project in Medieval Korea: Neo-Classicism, Nativism, and Figurations of Power." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11600.

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This dissertation examines the adoption and maturing of a neoclassical form of Confucianism in medieval Korea (875-1545) in relation to the long and complex roads to building a centralizing aristocratic order. In the tenth and eleventh centuries, Koryŏ (918-1392) sought to build a new type of government after overthrowing the bone-rank oligarchy of middle and late Silla (654-935), which proved irreplaceable. This institutional challenge prompted the Koryŏ court to turn to Neo-Classicism, a resurgent brand of Confucian nativism from the Northern Song (960-1127) that provided a range of ideas and blueprints for building a stable bureaucratic state. Koryŏ's Neo-Classicists envisioned a sociopolitical order in which the king and his courtiers enjoyed an institutionalized protection of their status and a recruitment system that drew staff from a pool of provincial candidates. Two bouts of reform contributed to the gradual realization of this vision. The First Wave (1046-1122) bolstered the monarchy's fiscal capacity and military capabilities, and the Second Wave (1170-1258) expanded the influence of the civil examination system to an unprecedented scale. However, the Mongol rule between 1258 and 1351 proved to be the cataclysmic moment. In a hostile environment, yangban courtiers serving both Mongol and Korean rulers perfected a patrimonial order based on patronage, marriage, and Neo-Classicist learning. The late-Koryŏ yangban completed the localization of Neo-Classicism with a new collective identity and converted Neo-Classicism into an ideology for legitimating the state's aggressive acculturation of the subject population. In 1392, the dynastic change to Chosŏn (1392-1910) happened despite the opposition of most yangban. Nonetheless, the early Chosŏn court eventually incorporated the yangban into the central bureaucracy and the late-Koryŏ Neo-Classicist ideas laid the new regime's institutional and ideological foundation.
East Asian Languages and Civilizations
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Books on the topic "New classicism"

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Nadelman, Elie. Elie Nadelman: 1882-1946 : Elie Nadelman's new classicism. New York: Salander-O'Reilly Galleries, 1997.

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Nadelman, Elie. Elie Nadelman: 1882-1946 : Elie Nadelman's new classicism. New York: Salander-O'Reilly Galleries, 1997.

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Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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Jencks, Charles. Post-modernism: The new classicism in art and architecture. New York: Rizzoli, 1987.

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Jencks, Charles. Post-modernism: The new classicism in art and architecture. London: Academy Editions, 1987.

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Jencks, Charles. Post-modernism: The new classicism in art and architecture. London: Academy Editions, 1987.

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Cowling, Elizabeth. On classic ground: Picasso, Léger, de Chirico, and the new classicism, 1910-1930. London: Tate Gallery, 1990.

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Cowling, Elizabeth. On classic ground : Picasso, Léger, de Chirico, and the new classicism, 1910-1930. London: Tate Gallery, 1990.

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Classicism, politics, and kinship: The Chʻang-chou school of new text Confucianism in late imperial China. Berkeley: University of California Press, 1990.

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Book chapters on the topic "New classicism"

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Robinson, Alan. "4 The New ‘Classicism’." In Poetry, Painting and Ideas, 1885–1914, 90–118. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07190-6_4.

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O’Connor, Danny. "Conclusion: A New Classicism?" In Ted Hughes and Trauma, 183–90. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55792-6_10.

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Kaldellis, Anthony. "Classicism, Barbarism, and Warfare: Prokopios and the Conservative Reaction to Later Roman Military Policy." In American Journal of Ancient History (New Series 3-4, 2004-2005 [2007]), edited by T. Corey Brennan, 189–222. Piscataway, NJ, USA: Gorgias Press, 2004. http://dx.doi.org/10.31826/9781463213930-010.

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Bruce, Susan, and Richard Beynon. "Neo-Classicism." In William Shakespeare, 15–47. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-90441-9_2.

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Holzmann, Jörg. "New Classics for Piano." In Das verdächtig Populäre in der Musik, 275–89. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32690-6_13.

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King, Bruce. "The politics of neo-classicism." In Coriolanus, 98–100. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20207-2_31.

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Vodopivec, Aleš, and Rok Šnidaršič. "The Vitality of Plecnik’s Neo-Classicism." In Edvard Ravnikar, 325–32. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-211-99204-3_36.

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Macleod, Joseph. "A New Attitude to the Classics." In The New Soviet Theatre, 196–207. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228660-13.

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Harvey, A. D. "Neo-classicism and Romanticism in Historical Context." In Literature into History, 125–70. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19286-1_8.

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Gray, Benjamin. "Seeking new classics in a crisis." In Classicising Crisis, 148–67. London ; New York, NY : Routledge/Taylor & Francis Group, 2021. | Series: Routledge monographs in classical studies: Routledge, 2020. http://dx.doi.org/10.4324/9781351115506-8.

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Conference papers on the topic "New classicism"

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Heyl, Christoph. "The Pastoral Pipes: A New Musical Instrument and the Aesthetics of Neo-Classicism." In Musik und die Künste in der englischen Frühaufklärung (ca. 1670–1750). Universität Hamburg, Institut für Historische Musikwissenschaft, 2020. http://dx.doi.org/10.25366/2020.119.

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Sousa, Alberto J. "Towards a Reinterpretation of the So-Called Brazialian Neo-Classical Architecture." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.22.

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Brazilian architectura d historians have identified in Brazilian architecture a style of classicist nature, adopted during the period ranging broadly from 1810, which has been regarded as the Brazilian version of European Neo-classicism – and therefore has been named Neo-classical – and as a language derived mainly from French models. The have said, at the same time, that the French architect Grandjean de Montigny (who lived in Rio de Janeiro from 18 16 until his death in 1850) was the main propagator of that style and also the most prominent of the designers who made use of it. A careful research that I undertook during more than two years led me to an understanding which differs from these views.
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Garcia Lammers, Federico, and Jessica Garcia Fritz. "The Dark God of Efficiency and the Economical Forms of Eladio Dieste." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.7.

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“Efficiency is the dark god to whom we sacrifice so many things”. Since the rise of the Industrial Revolution in the 18th century, “innovation as progress” became a mantra of industrialized societies. As new materials and the methods for making them emerged, architectural education shifted from an École des Beaux-Arts education rooted in the principles of classicism to an arts and crafts based education definitive of the Bauhaus. This shift allowed architecture students the opportunity to work with new materials such as iron, steel, and reinforced concrete. Throughout the 20th century, innovations came less in the form of the methods that impacted material and construction and more in the form of representational tools. By the end of the century, digital tools dominated both architectural education and practice. In the last half of the 20th century Uruguayan engineer, Eladio Diesterecognized a representational fetish in architecture as he claimed that “current methods of construction and even our professional training teach us to do projects, not build buildings―we think more about the plans than the structure, or we only think about the structure through the framework of the plans.” In his own practice, Dieste was able to collapse the space between representational and material knowledge by focusing on what he defined as Cosmic Economy. The first half of this paper will introduce the circumstances and methods associated with Dieste’s practice in the context of Cosmic Economy. The second half of the paper will describe representation and construction processes as a means to exercise material knowledge in an ongoing student project at South Dakota State University.
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Arima, Marcos, and Marcos Pimenta. "An Interpretation for Dimensionless Jet Parameters: Three Classics and One New." In 46th AIAA Aerospace Sciences Meeting and Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2008. http://dx.doi.org/10.2514/6.2008-767.

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Rozina, Irina. "The plot of the noble bandit: literary classics and new heroes." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.111.

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Ding, Aiwei. "Everlasting Classics: The New Model of the Expression of Traditional Culture in the New Era." In 2018 International Conference on Social Science and Education Reform (ICSSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsser-18.2018.73.

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Rufova, Elena. "Language, Structure Of A.E. Kulakovsky Poetic Texts: New Approaches To Studying National Classics." In X International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.144.

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Narkhov, Dmitry Yur`evch, Elena Nikolaevna Narkhova, and Polina Andreevna Khorova. "The New Function of the Student Leisure in Russian Education." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5266.

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The aim of this work is to study the dynamics of the impact that the students’ leisure activities have on the value system formation of modern students. The object of the empirical analysis is musical and theatrical art as a form of multi-dimensional socio-cultural influences. Noting their interdependence, the authors on a particular empirical material prove the change in the value of leisure in the modernization of higher education in Russia, and establishment of a new function - the formation of common cultural competences and worldview attitudes of the future professionals. Special attention is paid to the role and importance of leisure activities of students for the society, and necessity of researching them for the formation of cultural policy. We show the results of the monitoring studies by the authors identifying the ideas that modern students have about leisure preferences, and refute the myth about the lack of demand for works of world and national classics. An increase of students’ reflection degree on works which address social problems has been revealed in motivation for choosing a cultural work. Student society is increasingly becoming an acting subject in society, and this is reflected in sudents' leisure preferences.
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Bal, Oğuz. "Theoretical Perspective on the Concept of Sustainable Economic Growth." In International Conference on Eurasian Economies. Eurasian Economists Association, 2017. http://dx.doi.org/10.36880/c08.01839.

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Economic growth, real GDP is a concept that is related to the growth rate of the country. The history of this concept dates back to the mercantilist era. Mercantilist period the active actor is the state, while state intervention in fizyokrat, in contrast to the natural order, rationalism, and "laissez-fairy, laissez passer" was highlighted. The main idea in the classics of liberalism. Opinions that are based on the pressure of its population. Neoklasik the successor of the classics, according to the exogenous growth of labor supply and the concept of “labor growth and technological process” is one of the main determinants of the growth rate along the balanced. Classical and neoclassical growth models, the supply factor describes. Supply-side and demand is internal to the economic system is limited by assumptions. Keynesian and post-Keynesian growth models demand-oriented is referred to as. Vascular growth is tied to investment. The production capacity of the economy and new investments to increase production. Harrod, actual, guaranteed, and has made the difference between the natural growth rate. Harrod-Domar; are bound by the terms of the balance of the sustainability of growth. Stabilizing role of the state have been given. These models had been undertaken by N. Kaldor, Thirlwall was developed by. This article is intended that the components of the theoretical framework of the challenges of sustainable growth and developments is to examine and discuss. The method applied the inductive method.
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Cristina Souza, Benta, Priscila Flores da Luz, and Rodrigo Levi Rufca. "APRENDIZAGEM ATIVA PAUTADA NA DRAMATIZAÇÃO: MOE (MANTLE OF THE EXPERT)." In Computer on the Beach. São José: Universidade do Vale do Itajaí, 2021. http://dx.doi.org/10.14210/cotb.v12.p634-640.

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Teaching is a challenging and complex process, using an effective, creative and playful teaching practice is necessary in schools. The aim of this study is to characterize the pedagogical approach MoE (Mantle of the Expert) and its aspects for the development of learning. This approach is an active methodology that converges to the new challenges of teaching, as the MoE is based on the experience, dramatization, reflection and problem solving, in which this method has three central elements: the team of specialists, the client and their task . In this imaginary context, students simulate and immerse themselves in their mission as a specialist in a certain area and need to deliver a final product to their client. This article will take a theoretical approach to MoE, in addition to establishing correlations both with BNCC and with education theorists, from classics to contemporaries, for learning purposes.
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