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Journal articles on the topic 'Perspective baroque'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Faraudo, Rosario. "Sor Juana and the Painters - A neo-baroque Perspective." Anuario de Letras Modernas 14 (July 31, 2009): 63–70. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.673.

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This text intends to explore how renewed interest in the Baroque has transcended the field of literature and Sor Juana is once more attracting the attention of artists who update the Baroque with contemporary techniques and attitudes. The text focuses mainly on a contemporary picture of Sor Juana, parodying the well-known portrait by Miguel Cabrera and how it also contains elements of the Neo-Baroque. In addition, this picture includes in the composition the first quatrain of one of the poet’s sonnets, which creates an ekphrastic dimension and multiplies the possible readings.

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Johnson, Lathrop P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." MLN 100, no. 3 (1985): 679. http://dx.doi.org/10.2307/2905544.

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3

Anderson, Charlotte, and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." Die Unterrichtspraxis / Teaching German 18, no. 1 (1985): 208. http://dx.doi.org/10.2307/3530025.

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4

Aikin, Judith P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." German Quarterly 58, no. 1 (1985): 110. http://dx.doi.org/10.2307/406052.

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Gusella, Francesco. "A Gramscian Perspective on Colonial Baroque." Eikon / Imago 10 (February 8, 2021): 331–47. http://dx.doi.org/10.5209/eiko.74156.

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The present study provides a comparative analysis of whitewashed stucco moldings and polychrome gilded altarpieces, major elements of the distinct decorative style that originated in colonial Goa during the period under investigation. The study’s comparative approach focuses on the combination of these materials and the entangled evolution of their decorative motifs. The article employs Antonio Gramsci’s theory of cultural hegemony to analyze the artistic patronage of a selected group of religious buildings that are particularly important from the perspective of their decorative program. The t

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Baumgarten, Jens, and André Tavares. "Le baroque colonisateur : principales orientations théoriques dans la production historiographique." Perspective, no. 2 (December 31, 2013): 288–307. http://dx.doi.org/10.4000/perspective.3888.

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Farago, Claire, Helen Hills, Monika Kaup, Gabriela Siracusano, Jens Baumgarten, and Stefano Jacoviello. "Conceptions and reworkings of baroque and neobaroque in recent years." Perspective, no. 1 (July 31, 2015): 43–62. http://dx.doi.org/10.4000/perspective.5792.

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Szymański, Witold, and Maurycy Kin. "The perspective transformation in illusionistic ceiling painting of late Baroque." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 15, no. 1 (2020): 104–12. http://dx.doi.org/10.35784/teka.899.

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The following work has shown the analyses carried out in order to clarify facts necessary to understand the phenomenon of the perspective representation in the works of art in Renaissanse and late Baroque. A lot of misunderstandings have arisen on the grounds of critical work made by many theoreticians and art historians. The aim of this work was to stipulate the reasons for the conceptual and methodological fallacies. Having evaluated the methods used by illusionistic ceiling painters of late Baroque, it was possible to conduct some geometric analyses of the paintings placed on the vaul

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조은정. "Anamorphosis and Linear Perspective Theories in the Baroque Period." Misulsahakbo(Reviews on the Art History) ll, no. 35 (2010): 247–80. http://dx.doi.org/10.15819/rah.2010..35.247.

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Jones, Martin. "Kapoorian Geographies of Relationality: The Baroque, Topological Twists, Phase Space in Action." Environment and Planning A: Economy and Space 46, no. 11 (2014): 2585–603. http://dx.doi.org/10.1068/a46180.

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The Baroque offers architectures of vision that situate the viewer in a distinctly spatial relationship to the representation. Rather than providing a statically ordered perspectival arrangement, the ‘center’ continually shifts, the result being the ongoing articulation of complex spatial conditions where the subject is coextensive with that of the observer. This paper develops a ‘Baroque sensibility’ by offering a geographical perspective on the work of Anish Kapoor—one of the most celebrated and definitional artists of our time, and an expander of the notion of public art—and linking this to

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Dematté, Rosanna. "When Bicycles Become both Attitude and Form." Transfers 2, no. 1 (2012): 141–46. http://dx.doi.org/10.3167/trans.2012.020110.

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From June 17 to August 21, 2011 the University of Innsbruck (Austria) hosted the group exhibition “L’Italia alla finestra: Außen- und Innensichen” (Italy at window: Outside and outside views), commemorating the 150th anniversary of the unification of Italy. The bilingual title focuses on the necessity to consider a country from several perspectives. Seven artists from Italy and Austria, belonging to different generations, were invited to the baroque cellars of the Imperial Palace of Innsbruck to give their perspective and present their work.

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Bakri, Tsonka Al. "J.S. Bach’s “Anna Magdalena” as a Basic Tool for the Development of Beginner Pianists." Journal of Educational and Social Research 8, no. 2 (2018): 61–72. http://dx.doi.org/10.2478/jesr-2018-0017.

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Abstract The following paper aims to analyse the notebook ‘Anna Magdalena’ as a means for the development of specific knowledge and skills concerning teaching of Baroque and more specifically Bach style, for the beginner pianist. The focus of the paper is oriented towards examining the notebook, and providing a fresh perspective for its teaching from a pedagogical standpoint. Moreover, the paper aims to show various modes of teaching applied to the most popular pieces in the notebook. The author exhaustively lists widespread performer issues relating to the baroque’s technique, specifically, B

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13

Jean Kim. "The Theological Implications of the ‘Perspective’: From the Medieval to Baroque Ages." Theological Forum 92, no. ll (2018): 35–77. http://dx.doi.org/10.17301/tf.2018.92..002.

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14

Nielsen, Lara D. "This Kinetic World: Rethinking the Grid (Neo-Baroque Calls)." Performance Philosophy 3, no. 1 (2017): 285. http://dx.doi.org/10.21476/pp.2017.31127.

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In performance research today, as in the 1960s, the pressing question is: how to do things with systems. I return to the grid to attend both sites and modes of cultural practices and techniques� (technologies) that so powerfully harness and transform the control society.� My approach to the grid as dispositif seeks to open familiar dialogues, about variants of subjectivity and presence, to the materialities and devices of systems, structures, and bureaucratic operations. As seeing machine, the grid�s story includes linear perspective, geometricization, and fugitivity. Defined by consistency an

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Mello, Magno. "Perspectiva Pictorum – um exercício de ilusionismo arquitetônico no Tempodo Barroco." Circumscribere: International Journal for the History of Science 20 (December 14, 2017): 61. http://dx.doi.org/10.23925/1980-7651.2017v20;p61-111.

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The presented study focuses on analysing the pictorial decoration of realistic forms of architecture named by quadrature, whose origin in Luso-Brazilian universe dates from the first half of the 18th century. This text approaches a theme scarcely studied and investigated in the historiography of Brazilian and Portuguese art, with the exception of stylistic studies of Baroque and Rococo as a whole, but, rarely, the false architecture painting has been examined isolatedly. This subject aims to link the study of the painting of Baroque period with the science of Perspective. The analysis of repre

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Gh. Vlăsceanu, Mihaela. "FORMULĂRI STILISTICE ÎN ARHITECTURA TIMIȘOAREI ȘI VÂRȘEȚULUI (SEC. XVIII-XX). STUDIU DE CAZ: PALATELE PRELAȚILOR ORTODOCȘI SÂRBI." ИСХОДИШТА 1, no. 7 (2021): 85–94. http://dx.doi.org/10.46630/ish.7.2021.6.

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Being monuments endowed with ideological dimension, the Orthodox Bishopric Serbijan palaces from Vârșeț and Timișoara present interesting stylistical evolutions, from 18th century’s late Baroque to 20th Century Viennese Secession. Symbolizing the power of Orthodox Church rulers, these constructions adopted the Catholic Baroque style, crossed through the Romantic period with the rebirth of neoclassical values and ended in what was configured at the beginning of the 20th century as the closure with the academic dimension and the introduction of the Secession style. The hypothesis of the paper st

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Cabrini, Michele. "The Composer's Eye: Focalizing Judith in the Cantatas by Jacquet de La Guerre and Brossard." Eighteenth Century Music 9, no. 1 (2012): 9–45. http://dx.doi.org/10.1017/s1478570611000315.

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ABSTRACTWith its intense drama and marked eroticism, the story of Judith's slaying of Holofernes was often represented in baroque visual art and music. The overwhelming majority of musical representations are found in oratorios, with only three cantatas known to have been devoted to the subject. The oratorio's dramatic framework was suited for emphasizing Judith's multifaceted figure through character depiction, contrast and conflict, while the cantata's epic nature and lack of direct character intervention made staging conflict in that genre more difficult. Yet precisely because of these limi

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18

Durand, Carroll. "The Apogee of Perspective in the Theatre: Ferdinando Bibiena's Scena per angolo." Theatre Research International 13, no. 1 (1988): 21–29. http://dx.doi.org/10.1017/s0307883300014206.

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The scena per angolo, a phrase coined by Ferdinando Galli Bibiena in his 1711 publication, L' archittetura civile, is the consummate expression of high baroque scenography. Per angolo designs for stage sets typically show corners of palatial interiors or courtyards through the use of multiple vanishing points [Fig. 14]. Secondary diagonals which radiate off the major oblique lines defining the space lead the eye, as well as the understanding, into an implied infinity beyond the frame of the proscenium and mirror the early eighteenth century's fascination with, and indeed insistence upon, bound

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19

Matysiak, Agnieszka. "Sam Shepard and the “True” West." Polish Journal for American Studies, no. 13 (Spring 2019) (October 15, 2019): 39–56. http://dx.doi.org/10.7311/pjas.13/1/2019.04.

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The theater of Sam Shepard has almost emblematically been considered the epitome of the American, particularly the Southwestern, myth of the frontier and, hence, the vastness and masculine expansiveness it traditionally symbolizes. However, Shepard’s theatre attains, I believe, its true potential only when approached in the perspective of the (Neo)Baroque paradigm. Therefore, this article will indicate an alternative manner of interpreting his dramatic thought; the manner, which, as I will argue, allows for re-contextualizing the position of Shepard on the American stage.

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds wer

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21

Brunet-Gaston, Véronique. "Décor baroque ou perspective illusoire : le complexe « théâtre et temple » de Genainville (Val d’Oise)1." Études de lettres, no. 1-2 (May 15, 2011): 119–28. http://dx.doi.org/10.4000/edl.107.

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22

Pereira, Vinicius Carvalho. "Silva Freire: o barroco na poesia visual do Cerrado brasileiro." Caligrama: Revista de Estudos Românicos 23, no. 1 (2018): 99. http://dx.doi.org/10.17851/2238-3824.23.1.99-120.

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Resumo: Os mais recentes estudos sobre a poesia visual brasileira da segunda metade do século XX têm reiteradamente ressaltado as influências barrocas nos textos de artistas como Haroldo de Campos, Augusto de Campos e Décio Pignatari. No entanto, o estudo das vanguardas poéticas dos anos 1950 aos anos 1970 ainda se limita excessivamente à produção literária do eixo Rio-São Paulo, com algumas exceções (como as dos estudos sobre Ferreira Gullar). Contudo, artistas de Mato Grosso, ainda que hoje pouco conhecidos pela academia fora do estado, tiveram participação ativa e intensa nas formulações te

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23

Komenská, Katarína. "Hugolín Gavlovič on moral education: Enlightenment ideas in baroque literature?" Ethics & Bioethics 9, no. 3-4 (2019): 139–47. http://dx.doi.org/10.2478/ebce-2019-0023.

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Abstract The work of Hugolín Gavlovič belongs is part of the most influential literary and didactic heritage of 18th century literature in the region of contemporary Slovakia. Even though Gavlovič was not a systematic moral philosopher, the role and importance of ethics in his literary work is significant. He contributed greatly to the debate on moral education, which was (in the context of that time) linked to the fulfilment of God's will and to the accomplishment of a good life. In his extensive poetic work Valaská škola mravúv stodola [Shepherd´s school of morals], the author not only formu

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24

Kloiber, Michal, Jan Válek, Jiří Bláha, and Jitka Čechová. "Reconstruction of a Baroque Open Beam Ceiling Based on Material Analysis." Advanced Materials Research 688 (May 2013): 10–19. http://dx.doi.org/10.4028/www.scientific.net/amr.688.10.

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Reconstruction of a ceiling in the north-eastern wing of a former water fortress in Jeseník was carried out during the repair of its roof structure and replacement of the roof. The most damaged parts of the bearing ceiling beams were removed and partially replaced with new timber in the 70s of the 20th C. The way the work was carried out corresponded to the methods and approaches of the cultural heritage protection of that time. The replacement of damaged heads of ceiling beams with new timber that was fitted without connection to the original ceiling beams and only simply hanged on a metal gi

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25

Shahar, Galili. "Narrentum and Being-Jewish: Kafka and Benjamin." Naharaim 15, no. 1 (2021): 57–72. http://dx.doi.org/10.1515/naha-2021-0002.

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Abstract This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with the crisis of mo

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Wieland, Martin, and Juan Gorraiz. "The rivalry between Bernini and Borromini from a scientometric perspective." Scientometrics 125, no. 2 (2020): 1643–63. http://dx.doi.org/10.1007/s11192-020-03514-5.

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AbstractFrom a historical point of view, Rome and especially the University of La Sapienza, are closely linked to two geniuses of Baroque art: Bernini and Borromini. In this study, we analyze the rivalry between them from a scientometric perspective. This study also serves as a basis for exploring which data sources may be appropriate for broad impact assessment of individuals and/or celebrities. We pay special attention to encyclopaedias, library catalogues and other databases or types of publications that are not normally used for this purpose. The results show that some sources such as Wiki

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Wheeler, Duncan. "Contextualising and Contesting José Antonio Maravall’s Theories of Baroque Culture from the Perspective of Modern-Day Performance." Bulletin of the Comediantes 65, no. 1 (2013): 15–43. http://dx.doi.org/10.1353/boc.2013.0015.

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28

Wright, Barbara. "The sea and seeing." European Review 8, no. 1 (2000): 95–105. http://dx.doi.org/10.1017/s1062798700004592.

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A shift in seeing took place in Western Europe, marked by the transition from the geometrical optics of the seventeenth and eighteenth centuries to the physiological optics of the nineteenth century. Within the same time-frame, the sea (like the mountains) came to be valued as an entity in itself, and not just as a source of challenge, danger or ecstasy. The coupling of these two phenomena makes for the tracking of parallel effects: the diminution of anthropocentricity in the change from monocular to binocular vision; the substitution of plurality of point of view for the recessional perspecti

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Čulig, Janja. "Light as a visual source domain for the divine in the 17th century painting." Jezikoslovlje 20, no. 2 (2019): 303–24. http://dx.doi.org/10.29162/jez.2019.11.

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The aim of this paper is to explain the motivation behind the creation of religious visual art in which light plays the role of the signifier of divine presence. We will endeavor to show that representations of light in paintings from a particular socio-cultural period and context are based on metaphorization. The meaning that arises from this metaphorization establishes a connection between depicted light and the basic conceptual metaphor KNOWING IS SEEING. Our aim is to show that the understanding of these kinds of representations by the viewer as the presence of the divine is based on the f

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Wintersteiner, Werner. "“Nichts als der Tod und die Satire”." Daphnis 47, no. 1-2 (2019): 344–78. http://dx.doi.org/10.1163/18796583-04701005.

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Grimmelshausen’s Simplicius Simplicissimus, the classic novel of the Thirty Years War, is a unique critique in an exuberant narrative form. The double perspective (the hero narrates, as an old man, his own life), the doubt as a principle, irony as the fundamental tone – these are his main strategies to analyse the ambivalence of human behaviour as well as to check critically social models of a more peaceful society. Grimmelshausen refuses any philosophical, political or theological justification of violence. However, his irony, his humour and his narrative power make the lecture of his work a

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31

Bock, Florian. "Preaching and Confessional Culture in Early Modern Germany. Catholic Sermons between 1650 and 1800." Slovene 6, no. 2 (2017): 622–47. http://dx.doi.org/10.31168/2305-6754.2017.6.2.27.

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With the Council of Trent, Catholicism defined itself for the first time as a confession with distinct identifying features. In order not only to create but also to maintain such a Catholic Confessionalised identity, Catholic preachers needed to react to contemporary settings and currents as well as to fixed points of reference, as represented by the decrees of Trent. The scope provided by the Trent decree on preaching, “super lectione et praedicatione,” was so wide that, based upon it, individual ideas could be constructed about what constituted a “good” sermon. This can be seen in the variou

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Oržikauskas, Gytis. "ST. PETER AND ST. PAUL’S CHURCH IN VILNIUS: A STUDY IN META-CODAL SYMBOLISM OF CHRISTIAN ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (2014): 234–46. http://dx.doi.org/10.3846/20297955.2014.994809.

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The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared t

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33

Śnieżko, Dariusz. "Interpretacje po końcu świata." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 169–83. http://dx.doi.org/10.14746/pspsl.2017.30.8.

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The topic of the article is an analysis of the positions of today’s interpretations of the old Polish literature. Firstly, the position of the interpreter was examinated in the context of the methodological map of medieval, Renaisssance and Baroque studies in Poland. Secondly, it is about the chronological location of the interpreter, generally beyond the horizon of medieval and early modern authors’ expectations toward future readers, that was limited by the eschatological perspective (near the end of the world). The issues of empathic references and affective reactions have also been raised,

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Sticchi, Francesco. "”Let Man Remain Dead:” The Posthuman Ecology of Tale of Tales." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (2018): 53–68. http://dx.doi.org/10.1515/ausfm-2018-0003.

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Abstract In this essay I analyse Matteo Garrone’s Tale of Tales (2015) within the perspective of embodied cognition. I consider film experience as an affective-conceptual phenomenon based on the viewer’s embodiment of the visual structures. Baruch Spinoza stands at the foundation of my analytical approach since his thought was based on the absolute parallelism between the body and the mind. This paradigm redefines anthropocentrism and rejects dualism; however, the criticism of the rationalist ideal is also one of the main characteristics of the film Tale of Tales: by staging baroque and excess

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Matei-Chesnoiu, Monica. "Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (2019): 51–60. http://dx.doi.org/10.18778/2083-8530.20.05.

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This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is

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Fuentes Lázaro, Sara. "Ad vitandam confusionem. Una aproximación analítica al tratado sobre perspectiva de Andrea Pozzo = Ad vitandam confusionem. An Analytical Approach to Andrea Pozzo’s Treatise on Perspective." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 7 (December 13, 2019): 103. http://dx.doi.org/10.5944/etfvii.7.2019.24219.

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El tratado Perspectiva Pictorum Architectorum es uno de los principales méritos que han consagrado al hermano coadjutor Andrea Pozzo (1642-1709) como el más renombrado artista de la Compañía de Jesús. A pesar de haber servido a pintores, geómetras y arquitectos del último Barroco en cuatro continentes como fuente de formación y repertorio visual, sigue siendo un texto citado mayormente de modo superficial. El presente examen de sus contenidos pretende analizar su organización y los diferentes propósitos que fundamentaron la obra, esto es: ponderar la arquitectura de la Orden y del propio Pozzo

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Demchenko, Alexander I. "Ancient World. (Depth of Times). Discoveries and Revelations." ICONI, no. 1 (2020): 6–23. http://dx.doi.org/10.33779/2658-4824.2020.1.006-023.

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The object of the proposed cycle of essays is that with a maximal compactness of presentment it presents a cumulative overview of the chief phenomena of world artistic culture, spanned in whole, both from the perspective of an overall historical process and in relation to the various arts (literature, the visual arts, architecture, music, theater and cinema). At the same time, it avoids the customary rubrication according to national schools and division into separate arts forms with the specifi cation of genre inherent to each one of them, which is in accord with the positive tendencies of gl

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Choi, Byung Jin. "New Instruction of Using the Perspective in the Baroque Period: Case Study of Anamorphosis in the Convent of Trinità dei Monti." Journal of the Association of Western Art History 53 (August 31, 2020): 7–29. http://dx.doi.org/10.16901/jawah.2020.08.53.007.

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Fuentes Pérez, Gerardo. "La escultura. Engañando a la gravedad." ACCADERE. Revista de Historia del Arte, no. 1 (2021): 69–85. http://dx.doi.org/10.25145/j.histarte.2021.01.04.

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Sculptures are not capable of creating as complex scenes as painting does, except sculptural relief that creates the illusion of perspective and narration through the different planes. And it is not a question of establishing conceptual criteria in the manner of El Paragone, but rather discovering the constructive possibilities of sculpture in certain proposals, such as the representation of content through mass, height and depth, that is, the three-dimensionality. Already in the past, sculptors made an effort to obtain complex results such as the challenge to gravity (deceiving gravity), by m

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Bellone, T., F. Fiermonte, and L. Mussio. "THE COMMON EVOLUTION OF GEOMETRY AND ARCHITECTURE FROM A GEODETIC POINT OF VIEW." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 16, 2017): 623–30. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-623-2017.

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Throughout history the link between geometry and architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate. Sometimes it is geometry which drives architectural choices, but at other times it is architectural innovation which facilitates the emergence of new ideas in geometry. <br><br> Among the best known types of geometry (Euclidean, projective, analytical, Topology, descriptive, fractal,…) those most frequently employed

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SHAW, JAMES E. "THE INFORMAL ECONOMY OF CREDIT IN EARLY MODERN VENICE." Historical Journal 61, no. 3 (2018): 623–42. http://dx.doi.org/10.1017/s0018246x17000413.

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AbstractEvidence from the Piovego, the fraud magistracy of early modern Venice, offers a critical perspective on the documentary record of credit and the ways in which this was used in practice. Although it was formally illegal to charge interest on personal loans, a variety of legal fictions were employed to evade the ban. Such fictions significantly reduced the transparency and certainty of exchange, pushing personal loans into a world of semi-legality. This was a ‘baroque economy’, in which people were aware of the potential discrepancy between surface form and underlying substance, and pri

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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.

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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author

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Castilla, Manuel V. "Influencia del Humanismo en la arquitectura de los Jesuitas: Iglesia de San Luis de los Franceses de Sevilla." Liño 23, no. 23 (2017): 21. http://dx.doi.org/10.17811/li.23.2017.21-29.

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RESUMEN:El análisis de la relación directa de los términos “estilo jesuítico” y “noster modus” con las teorías arquitectónicas del Humanismo como aglutinante de la llamada arquitectura de los jesuitas es una parte fundamental del trabajo. A partir de esta hipótesis, hemos utilizado la tipología de San Luis de los Franceses, (Sevilla), como ejemplo característico de la funcionalidad, ornato y lenguaje decorativo de la arquitectura jesuítica. Considerada como de las arquitecturas más notables de la Compañía de Jesús, es destacable su planta centrada en forma de cruz griega inscrita en un rectáng

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Yudkin, Ihor. "Mythology and Heuristics in the Theory of Interpretation." Culturology Ideas, no. 15 (1'2019) (2019): 29–40. http://dx.doi.org/10.37627/2311-9489-15-2019-1.29-40.

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Mythology is the necessary stage in the development of abstract thinking based upon the interpretation of syncretic verbal polysemy. In opposite to the ritualistic approach, it has been stressed upon the incoherence of myth with practical activity as the construction of an imaginary virtual world where the motivation of events is represented as the consequence of intentions. It gives rise to the development of negation and entails the priority of antitheses and dualistic worldview inherited in the baroque casuistic devices of confutation. Syncretic polysemy is then reconceived as the indefinit

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Yamchuk, Pavlo. "ATHENA PASHKO. UNUSUAL THOUGHTS ABOUT UNUSUAL WORLDVIEW AND POETRY OF PASSIONARY PERSONALITY." Philological Review, no. 1 (May 31, 2021): 214–29. http://dx.doi.org/10.31499/2415-8828.1.2021.232745.

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The proposed article outlines the multifold semiosphere of understanding the worldview and poetics of the bright creator of the figurative word of the second half of the 20th – early 21st century – Athena Pashko. In the universe of her personality, the deep rootedness in the whole worldview-aesthetic discourse is organically combined with the specific need and ability to actualize this discourse in the Ukrainian semiosphere. The images and poetic visions created by the poetess pave a unique bridge from the «past to the future» (D. Humenna’s statement). The actual dominant of the proposed study

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Carvajal Contreras, Miguel Ángel. "Las conversiones religiosas en Granada en época moderna y contemporánea." Revista de Humanidades, no. 42 (May 4, 2021): 133. http://dx.doi.org/10.5944/rdh.42.2021.26209.

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Resumen: El presente artículo trata de exponer el fenómeno de la diversidad religiosa en la ciudad de Granada, desde la conquista de la misma por los Reyes Católicos en 1492 hasta la actualidad, pasando por las diversas etapas históricas, mediante una perspectiva antropológica. Una vez producida la conquista definitiva, se lleva a cabo una progresiva cristianización de la capital y del Reino de Granada. La Granada post-renacentista, la de época barroca, presenta una población ya marcadamente cristianizada, aunque es aún destacable la labor inquisitorial. Este panorama se extiende a lo largo de

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Nahajowski, Marek. "Cadence formulas in instrumental music of the Renaissance and early Baroque in the context of that time’s theory of music and composition practice." Notes Muzyczny 1, no. 11 (2019): 9–27. http://dx.doi.org/10.5604/01.3001.0013.3519.

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Cadence (ending) formulas are one of the most intriguing phenomena in music. They occur in works of all historical periods and styles and they have a variety of forms: from melodic and harmonic turns to rhythmic or even dynamic ones. However, this issue is important not only from the perspective of theory of music or composition technique but also performance practice as the way how a singer or instrument player understands the functioning of separate elements of a piece will impinge on the sound shape of the work presented to the public. Reading the extramusical message hidden in the structur

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Parente, James A. "The Seventeenth-Century Literary Text: Aesthetic Problems and Perspectives." Central European History 18, no. 1 (1985): 48–69. http://dx.doi.org/10.1017/s0008938900016903.

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Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary d

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Martínez Lara, Pedro Manuel, and Iván De la Torre Amerighi. "Una escultura desconocida de Cristóbal Ramos (1725-1799). Iconografía, uso artístico y mentalidad ilustrada a propósito de una imagen de San José con Niño." Liño 23, no. 23 (2017): 57. http://dx.doi.org/10.17811/li.23.2017.57-68.

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RESUMEN:El presente trabajo da a conocer una obra inédita, perteneciente a la sevillana colección particular de Carmen Marroco, inequívocamente atribuible al quehacer del maestro escultor Cristóbal Ramos. Ésta representa a San José sedente con Cristo niño en el regazo. El análisis del medio generador que rodea a esta escultura ha revelado cómo en ella están presentes rasgos que remiten claramente a sintagmas tradicionales barrocos, mientras que al mismo tiempo se adscribe a toda una serie de nuevos presupuestos artísticos, sobre todo desde el punto de vista del uso. Una pieza que queda además

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Bauer, Ralph. "Hemispheric Studies." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 234–50. http://dx.doi.org/10.1632/pmla.2009.124.1.234.

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When, in 1990, Gustavo Pérez Firmat asked, “Do the Americas have a common literature?” He was responding to a fledgling critical endeavor that had been pioneered during the previous decade in only a handful of studies, by such Latin Americanists and literary comparatists as M. J. Valdés, José Ballón, Bell Gale Chevigny, Gari Laguardia, Vera Kutzinski, Alfred Owen Aldridge, and Lois Parkinson Zamora (“Cheek” 2). Although “inter-American literary studies”—the comparative investigation of the “literatures and cultures of this hemisphere” as one unit of study—seemed to Pérez Firmat “something of a

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