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Journal articles on the topic 'New classicism'
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1
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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Masheck, Joseph. "The ‘one-walled house’: a new facet to Loos's dodgy classicism?" Word & Image 23, no. 3 (July 2007): 270–74. http://dx.doi.org/10.1080/02666286.2007.10435783.
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Tevdovski, Ljuben. "CLASSICISM AND ORIENTALISM IN THE LIGHT OF THE NEW GLOBALIZATION THEORIES." Journal of Liberty and International Affairs, Institute for Research and European Studies - Bitola 6, no. 3 (2021): 123–36. http://dx.doi.org/10.47305/jlia2163123t.
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Tevdovski, Ljuben. "CLASSICISM AND ORIENTALISM IN THE LIGHT OF THE NEW GLOBALIZATION THEORIES." Journal of Liberty and International Affairs, Institute for Research and European Studies - Bitola 6, no. 3 (2021): 123–36. http://dx.doi.org/10.47305/jlia2163123t.
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Rákai, Zsuzsa. "„New classicism” and the music of „new humanity” – Hungarian music historiography and Bence Szabolcsi." Hungarian Studies 31, no. 2 (December 2017): 191–98. http://dx.doi.org/10.1556/044.2017.32.1.6.
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ROYNON, TESSA. "A New “Romen” Empire: Toni Morrison's Love and the Classics." Journal of American Studies 41, no. 1 (March 8, 2007): 31–47. http://dx.doi.org/10.1017/s0021875806002738.
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An important but little-studied feature of Toni Morrison's novels is their ambivalent relationship with classical tradition. Morrison was a classics minor while at Howard University, and her deployment of the cultural practices of ancient Greece and Rome is fundamental to her radical project. Indeed, the works' revisionary classicism extends far beyond the scope of established criticism, which has largely confined itself to the engagement with Greek tragedy in Beloved, with the Demeter/Kore myth in The Bluest Eye and with allusions to Oedipus and Odysseus in Song of Solomon.1 Morrison repeatedly subverts the central role that Greece and Rome have played in American self-definition and historiography. In Paradise, for example, the affinity between the Oven in Ruby and the Greek koine hestia or communal hearth critiques the historical Founding Fathers' insistence on their new nation's analogical relationship with the ancient republics. And in their densely allusive rewritings of slavery, the Civil War and its aftermath, Beloved and Jazz expose the dependence of the “Old South” on classical pastoral tradition. It should come as no surprise, therefore, that in her most recent novel – Love (2003) – Morrison further develops the transformative engagement with America's Graeco-Roman inheritance that characterizes all of her previous fiction.2
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Klubiński, Michał. "Bohdan Wodiczko’s Programming Policies at Warsaw Philharmonic (1955-1958). Toward the Warsaw Autumn." Musicology Today 14, no. 1 (December 1, 2017): 54–66. http://dx.doi.org/10.1515/muso-2017-0002.
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Abstract As the managing and artistic director of Warsaw Philharmonic in 1955-58, Bohdan Wodiczko introduced an innovative programming policy which re-oriented the Philharmonic’s repertoire toward 20th-century classics and focused on the links between new music and that of other historical periods. The aim was to create a vast sonosphere of a “musical inter-age” (S. Kisielewski after M. Wańkowicz) encompassing radically different styles and genres and significantly transforming the axiology of the musical art. Wodiczko’s novel programming, though largely concentrating on the already waning neo-Classicism, laid the foundations for the phenomenon of the Warsaw Autumn and was a harbinger of the political-cultural thaw that would come after October 1956. This paper examines Wodiczko’s programming revolution in its political context, as well as the critical reception of Warsaw Philharmonic concerts, with particular emphasis on the aesthetic disputes arising around those composers whose works provoked the greatest controversies: Igor Stravinsky and Carl Orff.
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Marchesi, Simone. "Boccaccio’s Vernacular Classicism: Intertextuality and Interdiscursivity in the Decameron." Colloquium, no. 9788879166539 (September 2013): 161–78. http://dx.doi.org/10.7359/653-2013-marc.
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Deep reflection is given here not only to the fundamental concept of the gloss, especially of the intertextual sort, but also to how and when one should be employed, as well as what it tells us. In the light of texts such as Pliny the Younger’sand the, the’s gardens take on new meaning.
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Ronnick, Michele. "In Search of Helen Maria Chesnutt (1880-1969), Black Latinist." New England Classical Journal 48, no. 1 (May 14, 2021): 110–21. http://dx.doi.org/10.52284/necj/48.1/article/ronnick.
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Classical scholars have begun to delineate the dynamic pattern of black classicism. This new subfield of the classical tradition involves the analysis of the creative response to classical antiquity by artists as well as the history of the professional training in classics of scholars, teachers and students in high schools, colleges and universities. To the first group belongs Helen Maria Chesnutt (1880-1969). Born in Fayetteville, NC, Chesnutt was the second daughter of acclaimed African American novelist, Charles W. Chesnutt (1858-1932). She earned her B.A. from Smith College in 1902 and her M.A. in Latin from Columbia University in 1925. She was a member of the American Philological Association and the Classical Association of the Middle West and South. Her life was spent teaching Latin at Central High School in Cleveland, OH. This is the first full scale account of her career.
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Remizova, Olena, and Natalya Novak. "Dialogue of epochs in postmodern urban planning concepts of the late ХХth and early ХХIst centuries." Budownictwo i Architektura 17, no. 4 (February 28, 2019): 067–75. http://dx.doi.org/10.24358/bud-arch_18_174_07.
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The postmodern architecture of the last third of the XX century saw a steady tendency of appealing to classical heritage aimed at combining modern technologies and historical associations with classical architecture. The work considers postmodern urban planning concepts of the late XX-the beginning of ХХI centuries. Methods of interpreting the order system in the architecture of postmodernism are analyzed by comparing such theoretical concepts as R. Bofi ll›s industrial classicism, the new urbanism of L. and R. Krier, the theory of the city by Aldo Rossi. Architects postmodernists searching for sense and architectural language began to address to the historical past, using signs and images of classical architecture. Leaders of postmodern movement, trying to return to architecture the «eternal values» lost by modernism, opened a way for new creative searches and transformation of the order system elements. Its representatives were attracted by the «double code» of the order architecture, which allowed to solve complex town-planning problems. Postmodernism declared the idea of «architecture parlante». The notion of «postmodern classicism» disguised the compositional search for dialogue with any classical epoch – antiquity, renaissance, baroque, classicism itself. The order language of these epochs, possessing a tremendous potential of utterance, allowed the architect to create all the new meanings and texts. The article discusses the change of semantic meanings occurring in modern urbanism, the interpretation of order compositions, the notion of «order tradition» and the expansion of the semantics of the order system in historical and cultural context. The article shows that the theory of postmodernism actualized the notion of «order tradition» and expanded the semantics of the order system by its application in modern city planning concepts.
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Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.
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The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of music in concert genre, which had been influenced by everyday status of Cherubim chants. The research methods are based on the ways of musical-theoretical and stylistic analysis, as well as on the comparative manner. The method of musical-theoretical analysis contributed to the study of musical texts in Cherubim chants, the analytical method became the basis for identifying the stylistic belonging of pieces of music, comparative – to compare with the songs of previous and subsequent eras. The scientific novelty lies in the Cherubim chants separation from the creative heritage of Ukrainian composers of the Classicism era and their analysis as an independent line of creativity, which embodied an individual approach to the musical perusal of the canonical text. In the process of analysis it was concluded that the Cherubim chants written by M. Berezovsky, D. Bortnyansky and A. Wedel are striking examples of the new style, they can reveal features of musical classicism. Cherubim chants belong to everyday chant and, unlike choral concerts, have a more unified manner of musical presentation, but some chants reflect the features of individual thinking of their authors. At one time, the cherubim chants of these composers became an undoubted breakthrough, and later became a tradition.
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Griffin, Roger. "Building the Visible Immortality of the Nation: The Centrality of ‘Rooted Modernism’ to the Third Reich’s Architectural New Order." Fascism 7, no. 1 (May 5, 2018): 9–44. http://dx.doi.org/10.1163/22116257-00701002.
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This article sets out to contribute conceptual clarity to the growing recognition of the modern and futural dynamic behind fascist cultural projects by focusing on projects for architectural renewal under the Third Reich. It starts by reviewing the gradual recognition of the futural temporality of the regime’s culture. It then introduces the concept ‘rooted modernism’ and argues for its application not only to the vernacular idioms of some of the Reich’s new buildings, but also to the International Style and machine aesthetic deployed in many Nazi technological and industrial buildings. The article’s main focus is on the extensive use made in the new civic and public architecture under Nazism (and Fascism) of ‘stripped classicism’. This was a form of neo-classicism widely encountered in both democratic and authoritarian states throughout the inter-war period, and which can be understood as an alternative strand of architectural modernism co-existing with more overtly avant-garde experiments in reshaping the built environment. The case is then made for applying a new conceptual framework for evaluating the relationship to modernity and modernism of architectural projects, not just in fascist cultural production, but that of the many authoritarian right-wing regimes of the period which claimed to embrace the national past while striving for a dynamic, heroic future. This opens up the possibility for historians to engage with the complex cultural entanglements and histoires croisées of revolutionary with modernizing conservative states in the ‘fascist era’.
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Nowakowska-Sito, Katarzyna. "Ludomir Sleńdziński’s Trips to Italy 1923–1925." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 81–101. http://dx.doi.org/10.18290/rh.2019.68.4-4en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012).
Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.”
Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak.
In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs.
In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.
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Barnard, John Levi. "Ancient History, American Time: Chesnutt's Outsider Classicism and the Present Past." PMLA/Publications of the Modern Language Association of America 129, no. 1 (January 2014): 71–86. http://dx.doi.org/10.1632/pmla.2014.129.1.71.
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This essay advances a theory of black classicism as a mode of resistance to the dominant narrative of American history, according to which the United States was to be a new Rome, rooted in the best traditions of classical antiquity yet destined to surpass its antecedent through the redeeming power of American exceptionalism. In the late nineteenth century this narrative reemerged as a means of getting beyond sectional conflict and refocusing on imperial expansion and economic growth. For Charles Chesnutt, a post-Reconstruction African American writer, the progress of American civilization was a dubious notion, a fiction suited to the nation's imperial purposes. In opposition, Chesnutt developed an outsider classicism, challenging the figuration of the United States as inheritor of the mantle of Western civilization by linking the nation to the ancient world through the institution of slavery—a very present relic of the past.
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Reddy, Gautham. "The Andhra Sahitya Parishat: Language, nation and empire in colonial South India (1911–15)." Indian Economic & Social History Review 56, no. 3 (July 2019): 283–310. http://dx.doi.org/10.1177/0019464619852266.
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The Andhra Sahitya Parishat or the Telugu Academy as it was also known occupied a definitive role in the formation of a Telugu public and the development of Telugu literary activism in the early twentieth century. This essay revisits the early years of the Andhra Sahitya Parishat (1911–15) in order to examine questions related to the origins of ‘Telugu Classicism’ and its relationship to Indian negotiations with colonial modernity. By reviewing the Parishat’s membership, early interventions in public literary controversies, and its successful attempts to position itself as a nationalist intermediary, this essay produces new insights on the emergence and aspirations of an English-educated Telugu middle class. Ultimately, it demonstrates that Telugu Classicism was an integral dimension of early twentieth-century projects to modernise the Telugu language and constructively contributed to the imagination of Telugu as a ‘national’ as well as ‘classical’ language in an era of British imperialism.
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Soo, Lydia M. "Articulating British Classicism: New Approaches to Eighteenth-Century Architecture Barbara Arciszewska Elizabeth McKellar." Journal of the Society of Architectural Historians 65, no. 3 (September 2006): 449–51. http://dx.doi.org/10.2307/25068307.
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Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.
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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.
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Forgács, Éva. "The safe haven of a new classicism: the quest for a new aesthetics in Hungary 1904–1912." Studies in East European Thought 60, no. 1-2 (May 7, 2008): 75–95. http://dx.doi.org/10.1007/s11212-008-9045-z.
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Vandiver, Josh. "Plato in Folsom Prison." Political Theory 44, no. 6 (August 3, 2016): 764–96. http://dx.doi.org/10.1177/0090591716650715.
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Of the many structures which constitute the intellectual architecture of Black Power, where do “canonical” sources of political theory stand? How are they incorporated, reworked, and critiqued by the movement’s leading, innovative thinkers? Eldridge Cleaver, author of Soul on Ice and Minister of Information in the Black Panther Party, is certainly such a thinker. Subsequently scorned or ignored, he sought to advance the African American struggle for liberty and equality by exposing gendered and sexualized structures of racial oppression. Cleaver chooses distinctive theoretical tools, a kind of queer classicism, engaging with Plato’s Symposium and Republic as he develops new models for understanding the interdiction of black–white erotic relations, the policing of black masculinity, and the subordination of black persons within a racialized political order. Analyzing Cleaver’s engagement with Plato equips us to recognize intersections of classical political theory and modern radical thought and activism, the limits of such engagements, and the challenges for political theory when the complex interstices of race, gender, sexuality, and classicism are interrogated.
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Motomura, Shiperu. "The canine isolated, blood-perfused heart preparation; How to develop the new classicism of pharmacology ?" Japanese Journal of Pharmacology 67 (1995): 35. http://dx.doi.org/10.1016/s0021-5198(19)46119-2.
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Laska, Igor. "THE CREATIVE COMPONENT OF THE CONCEPT TRANSLATION IN FRENCH TRADUCTOLOGY OF THE 17 TH CENTURY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (January 30, 2020): 204–7. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-204-207.
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The present article highlights the problem of translation as creativity in the writings of French translators of the 17th century. The analysis of the traductologic texts of the classicism era allowed to establish two directions in conceptualization of the creative aspect of the translator’s work. Translators who grouped around the newly formed French Academy, in particular Perrot d’Ablancourt and supporters of translations of the genre les belles infidèles, equate the work of the translator with the work of the author and see his task in giving a new real creation of the receiving literature. However, due to the uncertainty of the limits of creative freedom of the translator, their translation practice rather compromised the very idea of creativity in translation. The second and more moderate direction, represented by translators from Port-Royal, is also oriented to the receiving language and culture. The translator is also considered a full-fledged author and must create a real work, but his freedom is limited by the text of the original, differences in language and culture, the rules of translation. The problems of translation creativity, which was discussed in the traduсtological texts of classicism, includes: role of translator and author, their rivalry, choice between literal and free translation, restriction of translator’s freedom, etc.
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Dardess, John, and Benjamin A. Elman. "Classicism, Politics, and Kinship: The Ch'ang-chou School of New Text Confucianism in Late Imperial China." American Historical Review 97, no. 1 (February 1992): 265. http://dx.doi.org/10.2307/2164688.
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Guy, R. Kent, and Benjamin A. Elman. "Classicism, Politics and Kinship: The Ch'ang-chou School of New Text Confucianism in Late Imperial China." Pacific Affairs 66, no. 1 (1993): 100. http://dx.doi.org/10.2307/2760024.
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Wilson, James Matthew. "Ancient Beauty, Modern Verse: Romanticism and Classicism From Plato to T. S. Eliot and the New Formalism." Renascence 67, no. 1 (2015): 3–40. http://dx.doi.org/10.5840/renascence20156711.
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Moyano-Tobar, Gabriel Alejandro. "EL ARQUETIPO COMO HERRAMIENTA PARA IDENTIFICAR VALORES FORMALES EN LA ARQUITECTURA MODERNA ECUATORIANA: ARQUITECTURA ACADÉMICA EN LA OBRA DE MARIO ARIAS SALAZAR." DISEÑO ARTE Y ARQUITECTURA, no. 9 (December 21, 2020): 249–64. http://dx.doi.org/10.33324/daya.v1i9.345.
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En el clasicismo, la manera de hacer arquitectura seguía parámetros establecidos, contraponiéndose con la modernidad, que a raíz de los nuevos materiales y a las nuevas necesidades a causa de la industrialización, buscaba nuevas maneras de organizar forma. De esta manera se generaron cambios en los criterios formales, dando como resultado que la arquitectura moderna deje de lado la utilización de reglas fijas tal como ocurrió en el clasicismo. Términos como orden arquitectónico, tipo clasicista, modelo, entre otros, han sido empleados a lo largo de la historia para analizar una obra arquitectónica y han contribuido a determinar criterios para su análisis y estudio; sin embargo, deberían estar exentos en la investigación de edificios modernos en general, ya que la modernidad, al tener nuevos esquemas que daban respuesta a nuevas necesidades, no podía encajarse en el concepto de tipología (Piñon, 2007). El tipo en el clasicismo era una manera de clasificar los edificios por la función. En la modernidad la clasificación de los tipos desde la función no es correcta, en su lugar, procuraba una clasificación de los edificios por la forma (estructura de orden interna del edificio). Para poder llegar a identificar valores formales en la Arquitectura Moderna ecuatoriana, es necesario entender que estos valores deben aspirar a ser universales, con criterios de forma y basados en la experiencia. En este sentido, una herramienta en este proceso podría ser la noción del arquetipo, noción que debe ser validada en la construcción de la forma, siendo la forma el resultado de relacionar el lugar, el programa arquitectónico y la construcción tal como sugiere (Gastón Guirao & Rovira Llobera, 2007). Entendiendo al arquetipo como un episodio de forma o la forma del tipo más allá de su función y construcción, su finalidad no es pretender reconocer el orden interno de un proyecto en particular, sino identificar valores comparativos en la construcción de forma en varias obras, diferenciando claramente que se deben reconocer relaciones, mas no identificar rasgos estilísticos e impositivos. Una vez comprendida esta noción, esta investigación se centrará en dar herramientas para reconocer e identificar arquetipos o episodios de forma en la Arquitectura Moderna a través del análisis de los edificios académicos realizados por el arquitecto quiteño Mario Arias Salazar.
Palabras clave: Arquetipo, valores formales, arquitectura.
AbstractIn classicism, the way of making architecture followed established parameters, in contrast to modernity, which, as a result of new materials and new needs due to industrialization, sought new ways of organizing form. In this way, changes were generated in the formal criteria, resulting in modern architecture leaving aside the use of fixed rules as occurred in classicism. Terms such as architectural order, classicist type, model, among others, have been used throughout history to analyze an architectural work and have contributed to determining criteria for its analysis and study; however, they should be exempted in the investigation of modern buildings in general, since modernity, having new schemes that responded to new needs, could not fit into the concept of typology (Piñon, 2007). The type in classicism was a way of classifying buildings by function. In modern times, the classification of types from the function is not correct, instead, it sought classification of buildings by form (internal structure of the building). In order to identify formal values in Ecuadorian Modern Architecture, it is necessary to understand that these values should aspire to be universal, with criteria of form and based on experience. In this sense, a tool in this process could be the notion of the archetype, a notion that must be validated in the construction of the form, the form being the result of relating the place, the architectural program, and the construction as suggested (Gastón Guirao & Rovira Llobera, 2007). Understanding the archetype as an episode of form or the form of the type beyond its function and construction, its purpose is not to pretend to recognize the internal order of a particular project, but to identify comparative values in the construction of form in various works, differentiating clearly that relationships must be recognized, but not identifying stylistic and imposing features. Once this notion is understood, this research will focus on providing tools to recognize and identify archetypes or episodes of form in Modern Architecture through the analysis of academic buildings carried out by Quito’s architect Mario Arias Salazar.
Keywords: Archetype, formal values, architecture.
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Pugin, Tristram. "Through the Spectrum: The New Intimacy in French Music (I)." Tempo, no. 212 (April 2000): 12–21. http://dx.doi.org/10.1017/s0040298200007579.
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The image of French music from the late 18th century to the present day in its European context is less clear in most people's minds, even most French people's minds, than one could reasonably expect. Yet it has a decisive bearing on what one makes of contemporary developments. There are too few names involved, for one thing, and the lines of influence drawn do not always point in the right direction. In particular, historical ascendancy is blurred, not least because too many musicologists who ought to know better base their work on that shakiest of grounds, ‘accepted repertoire’. Manuals repeat uncritically the opinions of Grimm and Rousseau on the shortcomings of le style français without bothering to uncover the influence of Rameau and Armand-Louis Couperin on Schobert – and through him on the young Mozart. Beethoven's ‘heroic’ manner is most often thought to be the outcome of an instinctively ‘romantic temperament’ exploding Viennese classicism from inside, when in fact it was largely prompted by French composers of the revolutionary period such as Méhul and Gossec (something altogether natural in a composer born in the Rhine–Palatinate). The beginning of a new contrapuntal spirit in French music is often credited to Gounod and his discovery of Bach, to detriment of Böely both as composer and performer.
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Groznov, O. D. "The Transformation of Classical Order in John Soane’s Architecture." Art & Culture Studies, no. 1 (2021): 86–103. http://dx.doi.org/10.51678/2226-0072-2021-1-86-103.
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The article provides a new approach to study the oeuvre of an architect-neoclassicist Sir John Soane. This approach is concerned to an original interpretation of architectural order by Soane. Studying the metamorphosis of classical order in Soane’s architecture can help to understand the evolution and particularity of Soane’s individual style and also to define the specific place of this style in the neo-classicist movement. The article describes the development of the architectural order in England (since the 16th century to the beginning of the 19th century) and some specific features of the John Soane’s approach to the application of the architectural order system. The author analyzes different ways of interpretation of the order decoration in the work of John Soane, referring to such buildings as the John Soane House in London (the architect’s Museum now), the Dulwich Picture Gallery and the Bank of England, which was heavily rebuilt in the 20th century, but well-known in its original appearance — from drawings, photographs and descriptions. Other buildings of Soane are also examined in the article. The research is based on two methods — stylistic analysis (of particular buildings and its details) and analysis of historic and cultural aspects of Soane’s work (for better understanding of its theoretical and practical origins and the very reason of its genesis). The preliminary results of the research show that the transformation of classical order’s key elements is going hand in hand with the development of two different phenomena — the style of Soane itself and the situation in European culture of the second part of the 18th century when some significant movements (Neo-classicism, Gothic Revival, etc.) were developing, intersecting and interchanging with one another.
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RIFKIN, DEBORAH. "The Quiet Revolution of a B Natural: Prokofiev's ‘New Simplicity’ in the Second Violin Concerto." Twentieth-Century Music 6, no. 2 (September 2009): 183–208. http://dx.doi.org/10.1017/s1478572210000162.
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AbstractThis essay explores changes in Prokofiev's compositional style that occurred in the mid-1930s, around the time that he was making his decision to return to his homeland. In his diary Prokofiev wrote about a desire for a ‘new simplicity’, a style that featured simple melodies and comprehensible form. Compared to the avant-garde aspirations of his earlier works, his ‘new simplicity’ features a self-conscious return to Classical precedents. Prokofiev believed his new lyricism would be a uniquely modern yet accessible music for the Soviet people. Many of his most popular works, including Lieutenant Kijé (1933), Romeo and Juliet (1935–6), and Peter and the Wolf (1936), are written in the style associated with this ‘new simplicity’. The style is distinctive because of its sudden and markedly trangressive chromatic swerves to distant harmonic areas. By invoking and then thwarting tonal conventions, Prokofiev creates a compelling tension between Classicism and modernism. This essay presents the first movement of his Violin Concerto no. 2 (1935) as an exemplar of his ‘new simplicity’. The fractured musical surface is interpreted as a musical narrative, as an ironic satire of sonata form.
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Mazzetto, Silvia. "VENETIANS REVIVALS AT THE BEGINNING OF THE TWENTIETH CENTURY: EXAMPLES OF NEO-MEDIEVALIST ARCHITECTURE IN THE RIO DEL GAFFARO AREA." International Journal of Architectural Research: ArchNet-IJAR 12, no. 2 (August 2, 2018): 223. http://dx.doi.org/10.26687/archnet-ijar.v12i2.1353.
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This paper presents some examples of architectural revivals created by a promising Venetian architect at the beginning of the twentieth century, in a marginal area of the city of Venice known as Rio del Gaffaro that was subjected to an intense phenomenon of redevelopment and urban development, following the construction of new road and rail links to the mainland. The original hypotheses for the evolution of the lagunar city, proposed by their author, use an innovative compositional syntax that becomes the thin line of division between traditionally antagonistic references such as classicism and modernism, or orientalism and localism, in some of the best examples of neo-medievalist revival in early 20th century Venice. In particular, the use of historical reference in the composition of the new architectural forms establishes an intense, but quiet and pacific dialogue between the ancient and the modern. In this comparison, all interruptions between past and present are removed, not only in the composition of the residential architectural cell but also in the formation of the new urban fabric into which it is inserted. This way of reinventing history was to open the way for many subsequent readings and interpretations by other Venetian architects.
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Birdwhistell, Anne D. "Classicism, Politics, and Kinship: The Ch'ang-chou School of New Text Confucianism in Late Imperial China (review)." China Review International 1, no. 2 (1994): 91–96. http://dx.doi.org/10.1353/cri.1994.0058.
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Bagina, Elena. "The binary star." проект байкал 18, no. 68 (August 8, 2021): 50–55. http://dx.doi.org/10.51461/projectbaikal.68.1802.
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Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.
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Yuan, Yan. "Aesthetic Views and Ideas of F. Busoni in the Development of Musical Art of the XX Century." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 157–69. http://dx.doi.org/10.36340/2071-6818-2020-16-1-157-169.
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Summary: The main direction of the article is the study of the leading aesthetic attitudes and ideas of F. Busoni, who influenced the development of music in the twentieth century. The purpose of the work is to systematize and generalize the representations of musicians of the twentieth century on the role of F. Busoni in the development of composer and performing musical art. For this, a comprehensive, hermeneutic, comparative approach is applied. In his books, F. Busoni outlined many ways in which the music of the twentieth century subsequently developed – from an expanded interpretation of tonality, harmony and harmony to new ways of composition, which he summarized in his letter to P. Becker as “new classicism”. The aesthetic views and ideas of F. Busoni expressed by him in relation to both composer and performing creativity were repeatedly discussed by the composer in a polemic with A. Schoenberg and G. Pfitsner, were supported by his students L. Grünberg, O. Luning, as well as many other composers and performers in the twentieth century. Attempts at creating F. Busoni’s new modal structures summarized the leading directions in the search for “new expressiveness” from N. Rimsky-Korsakov, M. Mussorgsky and the late A. Scriabin to O. Messian, P. Hindemith and B. Bartok. The composer’s desire to expand the ability of the fret by dividing it not by semitones, but by quarter tones and less influenced his creation of plans for the production of a new instrument – harmonium for producing a third of tones, which anticipated subsequent experiments and achievements in the field of electronic music. His aesthetic attitudes regarding the expression of feelings in the measures of art “opened” the discussion regarding the art of interpretation, dividing the music audience into two camps – who welcomed the freedom of expression of the musician-performer and who considered the requirements of musical objectivity to be quite justified, like M. Ravel, P. Hindemith and I. Stravinsky. It was they who supported the aesthetic essence of “new classicism” formulated by F. Busoni in the ideals of clear logic, a sense of style and the high art of polyphony – all those qualities that were his guide in the music of I.S. Bach. Formulated in the works of the composer, aesthetic views and ideas continue to develop and make sense in the musical art of the twenty-first century.
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Botica, Dubravka, and Iva Barković. "Još jednom „O baroknom klasicizmu u Pogančecu“." Peristil 61 (2018): 115–27. http://dx.doi.org/10.17685/peristil.61.7.
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Rakityanska, Liudmyla. "THE HISTORY OF WORLD MUSIC ART WITHIN THE CONTEXT OF RELATIONSHIP BETWEEN THE EMOTIONAL AND THE RATIONAL." Osvitolohiya, no. 9 (2020): 21–28. http://dx.doi.org/10.28925/2226-3012.2020.9.3.
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The article presents the results of the analysis of musical art history in the context of the relationship between its emotional and rational constituents. The author traces the overall evolution of the world music, which in itself is a process of a complex dialectical relationship of the emotional and the rational, and which has been conditioned by the dominant philosophical worldview of a specific historical epoch, that determined the variability of artistic priorities, their emotional and intellectual balance or otherwise demarcating them by the dominating rational-mediated or emotional-sensory constituent. The research has established that the primitive culture is characterized by a syncretism of mythological and ideological ideas of the primitive human, which was reflected in the folk tradition; in the era of Ancient art, the Greek philosophers gave preference to reason while comprehending art, which went in line with the rational, philosophical and ideological orientation of the society at that time; in the Middle Ages era, this tendency fixed itself in the theological-rationalist search of the «fathers of the church», which was reflected in various genres of church music, that was religious, ascetically oriented, strictly regulated, as well as emotionally limited; the musical art of the Renaissance with its faith in the unlimited possibilities of harmonious human development is characterized by the unity and balance of the emotional and the intellectual; the New Age art was marked by new artistic trends, including Baroque and Classicism. The Baroque concept of musical art was consonant with the Renaissance tradition in terms of defining the main purpose of art as the need to reflect the sensuality of the real world; the art of the Classicism is subject to strict regulations, appealing to the human mind, instead of the senses, it is based on «rationalism», the prevailing philosophical worldview at the time; a harmonious combination of both emotional and personal experiences together with a deep intellectual comprehension of life is the leading feature of the art of the Romantic era; the modern music culture demonstrates the tendency to strengthen the rational constituent.
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Schmidt, Freek H. "Expose Ignorance and Revive the "Bon Goût": Foreign Architects at Jacques-François Blondel's École des Arts." Journal of the Society of Architectural Historians 61, no. 1 (March 1, 2002): 4–29. http://dx.doi.org/10.2307/991809.
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This article focuses on four foreign architects who attended Blondel's school during the 1740s and 1750s: the Dutch architect Pieter de Swart, Sir William Chambers, and German architects Simon Louis du Ry and Karl Philipp Christian von Gontard. Through analysis of relatively unknown documentary evidence, the author reconstructs the actual content of Blondel's teachings. These sources underline Blondel's importance as a promoter of the study of architecture at all levels of society, a principal teacher of both theory and design, a master of spatial organization, a critic of contemporary architectural taste (Rococo and early neoclassicism), and an enthusiastic advocate of the interests of the architect as a professional in control of the entire building process. On the whole Blondel's views were heartily embraced by his foreign students. These facts suggest that, from an international perspective, Blondel should be regarded as a major propagator of the renewal and revival of the language of classicism and not merely as a traditionalist or as the last great theoretician of the Renaissance. Designs completed by his foreign students in their subsequent careers illustrate Blondel's efficacy in changing attitudes to classical architecture and theory, particularly outside France. After their schooling at Blondel's École des Arts, Chambers, de Swart, du Ry, and Gontard all rose to important positions in their homelands and, thanks to their acquired skills, used their education to redirect the practice of architecture. Moreover, their approaches to architectural education, theory, design, history, and contemporary taste clearly distinguished them as disciples of Blondel. To a large extent, they personified Blondel's new professionalism and were responsible for spreading his doctrine and renewed classicism throughout Europe during the second half of the eighteenth century and, at least in part, for carrying it well into the nineteenth century.
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Sarno, Megan. "Reflection, Representation, Religion: André Caplet’s Le Miroir de Jésus." 19th-Century Music 44, no. 1 (2020): 36–58. http://dx.doi.org/10.1525/ncm.2020.44.1.36.
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André Caplet’s Le Miroir de Jésus (1923), a song cycle scored for mezzo soprano soloist, women’s choir, string quartet, and two harps, has a lush sound world and dramatic vocal declamation, and it was immediately recognized as a masterpiece by the Parisian musical press. The work’s religious topic—mysteries of the rosary—has long been taken as the unambiguous sign that the piece and its composer were unapologetically Catholic, like the author of the poems, the convert Henri Ghéon. In the context of a secular French nation, unambiguous Catholicism can easily signal reactionary politics. Moreover, since it does not project images of anarchy, flappers, or committed nonchalance toward morality, when interpreted vis-à-vis the narrative of French musical aesthetics in the 1920s, the work’s status changed from masterpiece to footnote. Yet, though the work’s early reception by Catholic writers cemented its classification as a sacred work, Caplet’s own goals were less clear. Through a comparative musical analysis of characteristics that Le Miroir shares with Caplet’s secular works whose themes come from classicism or mystery, I demonstrate his agnostic aesthetic. Through an investigation of archival sources relating to Caplet’s smaller contemporaneous projects, including a 1923 setting of a poem by Baudelaire, his contribution to La Revue musicale’s 1924 Le Tombeau de Ronsard, and his response to a 1924 survey about “new music,” Caplet’s interest in classicism emerges as a salient context for understanding his largest postwar composition. Additionally Caplet’s real-time documentation of his creative process and goals in detailed correspondence with his wife, Geneviève, contributes further evidence of Caplet’s pragmatism. Rather than moralistic and reactionary, Le Miroir can be understood in the context of postwar artists attempting to render spirituality less institutional and more personal.
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Borsh, Lyudmila Mihaylovnа. "TECHNOLOGY OF INNOVATIVE ACTIVITIES: FORMATION OF A NEW PARADIGM." Scientific Bulletin: finance, banking, investment., no. 3 (52) (2021): 80–93. http://dx.doi.org/10.37279/2312-5330-2020-3-80-93.
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The article is devoted to the study of the topical scientific and practical problem of the macroeconomic theory of innovation, which has a significant impact on technological development and the formation of a new paradigm, ensuring the stability of the development of high-tech industries. The purpose of this article is to determine the technology of innovation and the formation of a new technological paradigm. To achieve this goal, the following tasks were completed: scientific approaches to the development of innovation technologies and the formation of a new technological paradigm were analyzed, the role of investments in innovative activities was determined. The scientific discussion is assessed in accordance with the state policy of innovative development, the fundamental differences in the theoretical argumentation of the supporters of neoliberalism, liberalism and classicism are revealed. The position of economists who support the monetarist theory and evaluate it from the point of view of an effective regulator is analyzed. Innovative technological development is determined by qualitative changes in the institutional framework and timely, high-quality transformation processes in the public administration system; depends on the chosen vector of economic theory based on knowledge and practical experience. The definition of the technological paradigm as the foundation of evolutionary transformations based on methodology, methodology, technologies, general strategy of socio-economic development and formed approaches is given. The state policy of innovative and technological development is a methodological basis for economic development using various theories of attracting investment in innovation. The effectiveness of innovation in technological development has been proven throughout the entire historical development of the Russian economy and directly depends on the fundamental prerequisites for the effective use of new knowledge.
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Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master." Filosofska dumka (Philosophical Thought) -, no. 2 (June 12, 2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.
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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.
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Plantzos, Dimitris. "Behold the raking geison: the new Acropolis Museum and its context-free archaeologies." Antiquity 85, no. 328 (May 2011): 613–25. http://dx.doi.org/10.1017/s0003598x00068009.
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In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism in view of the Classical ruins it preserved. The Acropolis became, naturally, the focal point of this effort. At the same time, however, and as Greek nationalist strategies were beginning to unfold, Classical antiquity became a disputedtopos,a cultural identity of sorts contested between Greece on the one hand and the 'Western world' on the other (see Yalouri 2001: 77–100). Archaeological sites thus became disputed spaces, claimed by various interested parties of national or supra-national authority wishing to impose their own views on how they should be managed — and to what ends (Loukaki 2008). The Acropolis was duly cleansed from any non-Classical antiquities and began to be constructed as an authentic Classical space, anationalproject still in progress. As Artemis Leontis has argued in her discussion of Greece as a heterotopic 'culture of ruins', the Acropolis of Athens, now repossessed by architectural renovation and scholarly interest, functions'as a symbol not of Greece's ancient glory but of its modern predicament'(Leontis 1995: 40–66; see also McNeal 1991; Hamilakis 2007: 85–99).
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.
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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.