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Artículos de revistas sobre el tema "Classicism – england"

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Autor: Grafiati

Publicado: 25 de julio de 2024

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1

Terletska, D. y V. Shpagin. "Identification of the architectural style of the Red Building of the Taras Shevchenko National University of Kyiv for Landscape Design aims". Bulletin of Taras Shevchenko National University of Kyiv. Series: Biology 77, n.º 1 (2019): 68–71. http://dx.doi.org/10.17721/1728_2748.2019.77.68-71.

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The article deals with the identification of terms that define the style of the Main Building of the Taras Shevchenko National University of Kyiv in domestic and foreign scientific literature, for their further use in the search for architectural analogues for the purposes of landscape design. Since the development of classics in architecture is characterized by heterogeneity in different countries and at different times, the study is based on an analysis of the periodization systems of development of the classical style adopted within domestic and foreign scientific schools. At the first stage, the article describes the domestic scientific system of periodization and shows that a simple chronological definition of the style of the Red Building does not provide the correct result. Therefore, an analysis was made with a comparison of the architectural image of the main building of the University and other classical buildings for which the style is precisely identified. Such an approach made it possible to establish the belonging of the Red Building to the number of architectural objects, the style of which corresponds to strict classicism. At the second stage, the domestic periodization system is compared with its Western counterparts. This allowed us to identify a group of terms used in foreign scientific schools, in particular in Germany and England, for identifying structures with stylistic signs of strict classicism. Thereafter it was analyzed the similarities and fundamental differences in the names of the period of development of foreign classical architecture, corresponding to strict classicism in the domestic architecture. There was demonstrated both the similarity of the terms of the national school with the terms used to refer to strict classicism in Germany and terminological differences in the domestic and English-language literature. In addition it was considered several foreign analogs of the term "strict classicism", which have received wide scientific scattering, but not included in the generally accepted periodization systems of the development of classical architecture .

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2

van der Woude, Joanne. "Indians and Antiquity: Subversive Classicism in Early New England Poetry". New England Quarterly 90, n.º 3 (septiembre de 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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3

Pears, Richard. "Battle of the Styles? Classical and Gothic Architecture in Seventeenth-Century North-East England". Architectural History 55 (2012): 79–110. http://dx.doi.org/10.1017/s0066622x0000006x.

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Research over the last twenty years into seventeenth-century elite British architecture has questioned the view that Classical designs were the preserve of a narrow group of royal and aristocratic patrons at the Stuart court, and also that Inigo Jones was a ‘lonely genius’ misunderstood in his own lifetime but prophesizing the true Classicism that was to bloom in the eighteenth century.The role of patrons in defining architectural styles has also been analysed, and it has been noted that Classicism was not the only style they favoured. For earlier historians, a perception that Classical architecture was an advance upon the Gothic style of medieval English buildings led to discussions of ‘Gothic survival’ or ‘Gothic revival’ and of a ‘Battle of the Styles’ in sixteenth-, seventeenth- and eighteenth-century buildings, with such patrons as Lady Anne Clifford (1590–1676), who commissioned and renovated buildings in Gothic style, being viewed as a ‘curiosity’ for not employing Classical style.

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4

Jordan, Elizabeth T. "Inigo Jones and the Architecture of Poetry*". Renaissance Quarterly 44, n.º 2 (1991): 280–319. http://dx.doi.org/10.2307/2862711.

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Architecture in England Remained a fledgling science until Inigo Jones's Italianate classicism burst forth in London in the first decades of the seventeenth century. His 1622 Banqueting House at Whitehall with its masterful double-cube interior astounded Londoners accustomed to the rabbit warren of Elizabethan apartments making up the surrounding Whitehall Palace; its rhythmic, subtly articulated marble façade clashed with the eclectic exteriors of neighboring buildings.

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5

Mocevičius, Albinas. "KLASICISTINIO STILIAUS PARKŲ MENO TENDENCIJOS BEI RAIDA EUROPOJE IR LIETUVOJE". JOURNAL OF ARCHITECTURE AND URBANISM 33, n.º 3 (30 de septiembre de 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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6

Smylitopoulos, Christina. "Then and Now: Collecting and Classicism in Eighteenth-Century England by Joan Coutu". University of Toronto Quarterly 87, n.º 3 (agosto de 2018): 424–26. http://dx.doi.org/10.3138/utq.87.3.89.

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7

Ternova, Maryna. "Outlines of theoretical and practical parity in the legacy of Joseph Addison". Culturology Ideas, n.º 21 (1'2022) (2021): 69–77. http://dx.doi.org/10.37627/2311-9489-21-2022-1.69-77.

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The article analyzes the situation in the scientific and artistic space of England in the transition period from classicism to the Enlightenment on the example of the legacy of Joseph Addison - a famous English writer, esthetician and politician. It was J. Addison who belonged to those intellectuals of his time who perceived, positively evaluated and - within their own capabilities - contributed to the "entry" of certain enlightenment ideas into the research space of the time. On the one hand, they significantly expanded the ideas of his contemporaries about the potential of aesthetic knowledge, the attribution of which at the turn of the seventeenth and eighteenth centuries, albeit slowly, but transformed from a rationalist model to the recognition of the positive role of sensory factors. The role of J. Addison's scientific research on the phenomenon of "aesthetic experience" and its possible interaction with "imagination" is emphasized. This theoretical orientation contributed to the formation of philosophical and psychological theory of imagination, which later became entrenched in the European research space thanks to J. Vico. J. Addison's literary and theatrical environment was reconstructed, which intensified the popularization of his work in England, enabling the influence of the writer, poet and playwright on the current process of cultural creation and outlining the importance of his heritage in the national and European humanities due to the favourable assessment by R.G. Collingwood. It is proposed to use the factors of culturological analysis - interdisciplinarity, personalization in the context of the biographical method, dialogism and formal-logical structure "theoretical-practical parity", as far as the transition from classicism to the Enlightenment taking into consideration the time was an important historical and cultural stage which can also be the object of theoretical analysis in the framework of cultural history and culturology.

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8

Groznov, O. D. "The Transformation of Classical Order in John Soane’s Architecture". Art & Culture Studies, n.º 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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9

STEWART, LOUISE. "SOCIAL STATUS AND CLASSICISM IN THE VISUAL AND MATERIAL CULTURE OF THE SWEET BANQUET IN EARLY MODERN ENGLAND". Historical Journal 61, n.º 4 (18 de junio de 2018): 913–42. http://dx.doi.org/10.1017/s0018246x1700053x.

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AbstractAround 1520, at the court of Henry VIII of England, a new meal type emerged. Called the ‘banquet’, this took place after the main meal, in a distinct space, and consisted of sweet foods, spiced wine, and sculptural sugarwork. Originally developing at court, the sweet banquet was quickly embraced by the nobility and gentry. This article investigates the adoption of this dining practice in the wealthy country houses of early modern England and the reasons for its popularity in this specific context. It draws on state papers, published works, and household accounts to establish the ways in which the banquet was utilized and understood by early modern elites. This evidence makes it clear that a high-status person would have expected to be entertained with a sweet banquet at any important social occasion involving their peers. An examination of the visual and material cultures associated with the banquet establishes that it was a highly effective means by which to express class status at a time of anxiety regarding social mobility. As an appropriation of the ancient symposium, it provided opportunities to engage with the intellectual and visual cultures of the classical world and the Renaissance.

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10

Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century". Исторический журнал: научные исследования, n.º 5 (mayo de 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.

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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.

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11

Turner, Frank M. (Frank Miller). "Nationalism and Classicism: The Classical Body as National Symbol in Nineteenth-Century England and France (review)". Victorian Studies 43, n.º 1 (2000): 150–51. http://dx.doi.org/10.1353/vic.2000.0128.

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12

Radford, Dennis y Douglas Cawthorne. "Unlocking Lutyens: a gateway to the hidden legacy of John Pell and Sir Christopher Wren". Architectural Research Quarterly 12, n.º 1 (marzo de 2008): 69–85. http://dx.doi.org/10.1017/s1359135508000948.

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The work and the life of the English architect Sir Edwin Landseer Lutyens (1869–1944) have been extensively documented over the past hundred years and clearly show a career with at least two phases. The first is characterised by the design of private country houses in the Arts and Crafts style and, in collaboration with the horticulturalist Gertrude Jekyll, the development of their gardens. The second begins around 1900 and reflects a shift towards Neo-Classicism, initially in country houses and later in a wider range of larger public buildings and monuments both in England and abroad. Lutyens developed his use of the Neo-Classical idiom throughout the latter part of his career into a unique style of design which Arthur Stanley George Butler has termed his ‘elemental mode’. This was characterised by a highly controlled use of form and mass, apparent adherence to rules of Classical proportioning and the sparing use of symbolic Classical motifs. However, very little is known with any certainty about how Lutyens actually achieved this style, in particular what role was attributable to intuition and good taste, as is often assumed, and how much may have been attributable to quantitative and formalised methods of design. Circumstantial evidence exists that strongly suggests that quantitative analytical methods may have been used in a method which drew upon his interest in puzzles and mathematics, his interests in architectural history (particularly English Neo-Classicism), his leanings towards mysticism and his exposure to Theosophy.

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13

Taylor, Stephen. "Sir Robert Walpole, the Church of England, and the Quakers Tithe Bill of 1736". Historical Journal 28, n.º 1 (marzo de 1985): 51–77. http://dx.doi.org/10.1017/s0018246x00002211.

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The Church of England has received little attention either as an issue or as a force in mid-eighteenth-century politics. The contrast with the immediate post-revolutionary decades, when the Church and churchmen were at the centre of political debate, is striking. This development has been explained in terms of the achievement of political stability, one manifestation of which was the transition from the whig–tory dichotomy of the reign of Anne into a court–country one by 1725, with the issues dividing the two parties losing both ideological and political significance. Among the debates which were ‘overtaken by events’ was religion which ‘ceased to be a central issue of political debate’. Indeed, Geoffrey Holmes has argued that the decline of religious controversy began with the Sacheverell trial, claiming that most of the eighteenth century was characterized by ‘spiritual inertia’ and ‘religious tranquillity, within the framework of an Erastian polity’. Such views accord well with the secularist interpretation of the enlightenment, epitomized by Peter Gay's portrayal of it as ‘a volatile mixture of classicism, impiety, and science’, and they have been little challenged by ecclesiastical historians. Norman Sykes may have vindicated the pastoral and administrative standards of the Georgian Church, but the overwhelming impression remains one of Stability and intellectual torpor.

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14

Tsoumas, Johannis y Paraskevi Kertemelidou. "Designers, makers, influencers: the contribution of William Halfpenny and Thomas Chippendale to the development English Chinoiserie furniture design". Res Mobilis 13, n.º 18 (9 de febrero de 2024): 23–39. http://dx.doi.org/10.17811/rm.13.18.2023.23-39.

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The term Chinoiserie, i.e. the tendency to incorporate elements of Chinese culture into European art and architecture, redefined the concept of style in seventeenth-century France and influenced the aesthetic formation of European arts and design in the century that followed. The term became particularly popular in England, as it was also associated with the need for renewal after the excessive ornamentation, elaborate symbolism and intense theatricality of Baroque, as well as the aesthetic and ideological perfection of Classicism. As early as the first half of the eighteenth century, the architect and designer William Halfpenny (1723-1755) showed a keen interest and skill in the transition from classical design to the mysterious Chinese motifs, contributing thus to the stylistic formation of English Chinoiserie, especially in the field of architecture and by extension furniture design. His experimentally pioneering approach through his publications was the beginning of a new aesthetic and ideological era that had a catalytic effect on the shaping of the design concept, taste and construction techniques of the equally important English furniture designer, Thomas Chippendale (1718-1779). This research aims to highlight the establishment of Chinese culture and aesthetics, known as Chinoiserie, in the eighteenth-century England, as regards the formation of furniture design, through the pattern books and design experimentation of William Halfpenny, as well as the inspired publications and the manufacturing mastery of Thomas Chippendale.

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15

Shvidkovsky, Dmitry. "The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism". Scientific and analytical journal Burganov House. The space of culture 16, n.º 3 (10 de septiembre de 2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-47-60.

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The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.

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16

Buck, Pamela. "Joan Coutu. Then and Now: Collecting and Classicism in Eighteenth-Century England. Montreal: McGill-Queen's University Press, 2015. Pp. 340. $100.00 (cloth)." Journal of British Studies 55, n.º 3 (10 de junio de 2016): 601–2. http://dx.doi.org/10.1017/jbr.2016.38.

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17

Findlay, Michael. "So High you can't get over it: Neo-classicism, Modernism and Colonial Practice in the forming of a Twenieth Century Architectural Landmark". Architectural History Aotearoa 3 (30 de octubre de 2006): 7–19. http://dx.doi.org/10.26686/aha.v3i.6795.

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Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over time when Connell's intention to combine classical and modern design tendencies was criticised by more doctrinaire modernists. High and Over occupies a place where the traditions of classicism and the emergent features of modernism intersect. Connell's path, if taken, may have produced a distinctively British form of classical modernism. [NEW PARAGRAPH] This paper seeks to establish the context for High and Over from a New Zealand perspective and through comparison with other projects by colonial architects in Britain. Connell's critical profile has been shaped by the notion that British modernism was in the hands of "Wild Colonial Boys," a soubriquet used to frame Connell's work in the 1930s by the British writer Dennis Sharp. In this interpretation, the depth of Connell's experience prior to High and Over is overlooked. Connell's partnership with the Australian-born Stewart Lloyd Thomson (1902-90) has not been covered in any previous study of the Connell, Ward and Lucas practice. The High and Over project included a number of related structures set in a landscape plan not usually included in analysis of the complex whole. The relationship between the garden plan and the designs of the Armenian architect Gabriel Guévrékian seen at the Paris Exposition and the Villa Noailles at Hyéres (1927) has also not been traversed.

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18

Turner, Frank M. "BOOK REVIEW: Athena S. Leoussi.NATIONALISM AND CLASSICISM: THE CLASSICAL BODY AS NATIONAL SYMBOL IN NINETEENTH-CENTURY ENGLAND AND FRANCE. New York: St. Martin's Press, 1998." Victorian Studies 43, n.º 1 (octubre de 2000): 150–51. http://dx.doi.org/10.2979/vic.2000.43.1.150.

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19

Connor, Steven, Johannes Hedberg, Sarah Wintle, Christopher Murray, Jeffrey S. Miller, Lindsay Smith, Birgit Sawyer et al. "Reviews and notices". Moderna Språk 85, n.º 1 (27 de mayo de 1991): 84–112. http://dx.doi.org/10.58221/mosp.v85i1.10417.

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Includes the following reviews: pp. 84-86. Steven Connor. Zadworna-Fjellestad, D. & Björk, L. (eds), Criticism in the Twilight Zone: Postmodern Perspectives on Literature and Politics. pp. 86-87. Johannes Hedberg. Allen, R.E. (ed), The Concise Oxford Dictionary of Current English (8th ed). pp. 88-89. Sarah Wintle. Thurin, E.I., The Humanization of WIlla Cather: Classicism in an American Classic. pp. 89-90. Christopher Murray. Pine, R., Brian Friel and Ireland's Drama. pp. 91-92. Jeffrey S. Miller. Buxton, D., From The Avengers to Miami Vice: Form and Ideology in Televison Series. pp. 93-94. Lindsay Smith. Fawkner, H.W., Deconstructing Machbeth: The Hyperontological View. pp. 94-96. Birgit Sawyer. Owen-Crocker, G., Dress in Anglo-Saxon England. pp. 96-97. Bill Overton. Super, R.H., The Chronicler of Barsetshire: A Life of Anthony Trollope. + Bell, A.C., A Guide to Trollope. pp. 97-98. David Wright. Neaman, J.S. & Silver, C.C., Kind Words: A Thesaurus of Euphemisms. pp. 98-99. Mats Mobärg. Room, A., An A to Z of British Life. pp. 99-100. Gösta Werner. Schröder, F., Die Gestalt des Verführers im Frama Hugo von Hofmannsthals. pp. 101-102. Ulrike Klingemann. Wimschneider, A., Herbstmilch. Lebenserinnerungen einer Bäuerin. pp. 103-105. Gustav Korlén. Landin, P., Von dort nach hier. Zum Prozeß der Vermittlung deutschsprachiger Belletristik in Schweden 1980-1988. pp. 106-110. Sven Sandqvist. Picoche, J. & Machello-Nizia, C., Histoire de la langue française. pp. 110-112. Ken Bensson. Casado, P.G., La novela deshumanizada española (1958-1988).

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20

Murray, Oswyn. "CLASSICS IN ENGLAND". Classical Review 50, n.º 1 (abril de 2000): 256–59. http://dx.doi.org/10.1093/cr/50.1.256.

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21

Contogouris, Ersy. "Joan Coutu, Then and Now : Collecting and Classicism in Eighteenth-Century England, Montreal & Kingston : McGill-Queen’s University Press, 2015, 340 pp., 16 col. + 80 b/w illus., $ 77, Cloth & eBook, isbn 9780773545434". RACAR : Revue d'art canadienne 41, n.º 2 (2016): 125. http://dx.doi.org/10.7202/1038077ar.

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22

Walsh, Hannah. "Bristol Classics Hub – reflections on the first year". Journal of Classics Teaching 18, n.º 36 (2017): 37–39. http://dx.doi.org/10.1017/s2058631017000228.

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The Bristol Classics Hub was set up in September 2016 to promote and support the teaching of classical subjects in state schools in the South West of England. Funded by Classics for All and the Institute of Greece, Rome and the Classical Tradition and delivered in partnership with the University of Bristol, the hub aims to widen access to Classics by offering a powerful and stable focus for regional development.

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23

Acostová, Anna. "Development of the garden design of 18th century in Sankt Petersburg and comparison with main European patterns". Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 55, n.º 1 (2007): 185–94. http://dx.doi.org/10.11118/actaun200755010185.

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The 18th century was the period when the Russian empire started to open to the western culture. The economic and cultural development of this country started after the reforms of the emperor Petr I. Large number of the imperial palaces where built after the foundation of Santk Petersburg in 1703. Peter I was a big admirer of the western culture, his knowledge about it increased during two visits through Europe. Therefore, the formal gardens and baroque palaces built during the reign of Peter the Great are called Peter’s baroque.Until 1715 were all Russian gardens influenced by the Holland pattern like the palaces built by William of Orange in Holland – Het Loo and in England part of the Hampton Court. The first garden laid out in formal style in Sankt Petersburg was the Summer Garden – located in the architectural heart of the city. Gardens of this period were characteristic by small closed ground plan surrounded by water canals, an absence of using terrace as a symbol of majesty and highest point of view and finally by modest architecture. After the second visit of Peter I to Europe, he started to use all principles of the French formal gardens based on Andre Le Notre work. Palaces like Petrodvorets, Strelna and residence of first minister Alexander Menshikov in Oranienbaum were laid out on a natural terrace overlooking the Gulf of Finland. During the reign Elizabeth Petrovna started a huge expansion of palaces Petrodvorets, Hermitage and Tsarskoe Selo by the Italian architect Francisco Bartolomeo Rastrelli, whose combinations of rich ornaments, soft unusual colours and white columns are symbol of Russian baroque of the middle of 18th century. Moreover, F. B. Rastrelli also rebuilt some garden pavilions giving a new dimension of composition between buildings and garden. His sense of buildings soft colours in contras to the dark colours of north nature was very important and helped to improve Russian garden design of this time.After the start of reign Catherine II in 1761 begun new period of architectural style – Classicism and English Landscape School. At first was rebuilt a part of the formal gardens in Tsarskoe Selo for which was used the composition of the famous Stowe Park as a pattern. Others built landscape parks were Pavlovsk, Gatchina and Alexandrowski Park. In the process of creating those imperial residences were used principles of the work of William Kent, with antique temples, also Lancelot Brown’s famous nature scenery. Moreover, the compositions of landscape parks are good examples of oriental and neo-gothic pavilions. Russian formal gardens and landscape parks are inseparable part of European art in 17th and 18th century. They composition content basic characteristic of French baroque and English landscape school together with different elements originated as a adaptation to the specific climatic conditions of this region.

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24

Case, Alice y Maria Haley. "Classics for All North. The view from Liverpool". Journal of Classics Teaching 21, n.º 42 (2020): 86–87. http://dx.doi.org/10.1017/s2058631020000549.

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In June 2019 the Classics for All Hubs in the North of England (Blackpool, Liverpool, Durham/North-East England and Manchester/Leeds) met together in Leeds and agreed to combine our forces, rebranding ourselves as Classics for All North. The intention was to create a stronger presence in the North for schools and teachers of classical subjects and to share events and planning. We now have a combined Classics for All North website (https://classicsforallnorth.org.uk/) and social media presence (Twitter handle @ClassicsNorth, Instagram @CfANorth), we produce a combined quarterly newsletter and, where practical, share events and planning. It also means that schools that fall between our hubs or outside our metropolitan centres can feel more included. As we have set up our hubs and got to know teachers, a common difficulty has been raised: a feeling that so much that happens in the Classics world happens in London and the South. We are trying hard to change that. As individual hubs it can be difficult to make an impact. Individual numbers of schools in one area may be too small to run a Teach Meet event, but by combining them and running them across the whole region, we are able to accomplish more and our local schools are noticing more what we have to offer. Of course, our individual hubs are still busy in their own areas, recruiting new schools and training teachers.

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25

Stapleton, Julia. "Ernest Barker: Classics, England-Britain, and Europe, 1906–1960". Polis: The Journal for Ancient Greek Political Thought 23, n.º 2 (2006): 203–21. http://dx.doi.org/10.1163/20512996-90000093.

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Ernest Barker’s contributions to the study of classical political thought have remained a benchmark in that field for much of the twentieth century. This introduction seeks to place his output in historical context, examining the professional, political and personal factors which underpinned his success as an interpreter of Plato and Aristotle, especially. It considers his education, the popular nature of his work, his ambiguous relationship to the establishment, his English-British patriotism, his European connections and perspective, his dual career as a scholar and journalist, and his liberalism as central to the cultural authority he acquired in the first half of the twentieth- century. The introduction emphasises the close relationship between Barker’s ‘national’ status as a classical scholar, the methodological, democratic, and religious sensibilities that informed his work, and the deep sense of public mission by which he was moved, down to his last years. In doing so, it draws together themes which are explored more fully in the special issue as a whole.

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26

Bennett, Kristen Abbott. "Orgel, Stephen. Wit’s Treasury: Renaissance England and the Classics". Renaissance and Reformation 45, n.º 2 (1 de diciembre de 2022): 338–40. http://dx.doi.org/10.33137/rr.v45i2.39789.

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Stray, Christopher A. "Culture and discipline: Classics and society in Victorian England". International Journal of the Classical Tradition 3, n.º 1 (junio de 1996): 77–85. http://dx.doi.org/10.1007/bf02676905.

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28

Selitrina, T. "Sergei Aksakov in England (on the problem of national identity)". Philology and Culture, n.º 2 (25 de junio de 2024): 199–204. http://dx.doi.org/10.26907/2782-4756-2024-76-2-199-204.

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The article presents the assessment of S. Aksakov’s artistic heritage by English critics and writers. We prove that the Russian writer unites European cultures by using universal content. Along with the classics of Russian literature – I. Turgenev, L. Tolstoy and F. Dostoevsky, S. Aksakov’s prose has worldwide significance. The year 1991 was declared by UNESCO the Year of Sergei Aksakov. Aksakov’s “The Family Chronicle” was translated into German by Sergei Rachinsky and was highly praised by A. Herzen. After James Duff translated Aksakov’s trilogy into English, the writer, along with Turgenev, Tolstoy, Gogol and Chekhov, entered the “golden fund of world literature”. The special interest to Aksakov in England was noticeable both in the early 20th century and in the 1980, when his works became bestsellers along with the works of famous Victorians. The article reveals the role of Dmitry Mirsky in popularizing Russian classics, as well as Virginia Woolf, according to whose testimony books by Russian authors Aksakov, Chekhov Turgenev and Dostoevsky found the most enthusiastic response among English readers. The article also touches upon the translation specifics of Aksakov’s works into English.

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29

Calder, William M. y Christopher Stray. "Classics Transformed: Schools, Universities, and Society in England, 1830-1960". Classical World 93, n.º 1 (1999): 109. http://dx.doi.org/10.2307/4352376.

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30

Ponce, Francisco A. y Andres M. Lozano. "Highly cited works in neurosurgery. Part II: the citation classics". Journal of Neurosurgery 112, n.º 2 (febrero de 2010): 233–46. http://dx.doi.org/10.3171/2009.12.jns091600.

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Object The term “citation classic” has been used in reference to an article that has been cited more than 400 times. The purpose of this study is to identify such articles that pertain to clinical neurosurgery. Methods A list of search phrases relating to neurosurgery was compiled. A topic search was performed using the Institute for Scientific Information Web of Science for phrases. Articles with more than 400 citations were identified, and nonclinical articles were omitted. The journals, year of publication, topics, and study types were analyzed. Results There were 106 articles with more than 400 citations relating to clinical neurosurgery. These articles appeared in 28 different journals, with more than half appearing in the Journal of Neurosurgery or the New England Journal of Medicine. Fifty-three articles were published since 1990. There were 38 articles on cerebrovascular disease, 21 on stereotactic and functional neurosurgery, 21 on neurooncology, 19 on trauma, 4 on nontraumatic spine, 2 on CSF pathologies, and 1 on infection. There were 29 randomized trials, of which 86% appeared in the New England Journal of Medicine, Lancet, or the Journal of the American Medical Association, and half concerned the prevention or treatment of stroke. In addition, there were 16 prospective studies, 15 classification or grading systems, and 7 reviews. The remaining 39 articles were case series, case reports, or technical notes. Conclusions More than half of the citation classics identified in this study have been published in the past 20 years. Case series, classifications, and reviews appeared more frequently in neurosurgical journals, while randomized controlled trials tended to be published in general medical journals.

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31

Abrams, Lesley y C. J. Arnold. "From Roman Britain to Saxon England". Classical World 80, n.º 4 (1987): 324. http://dx.doi.org/10.2307/4350049.

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Walas, Anna H. "4. NORTHERN ENGLAND". Britannia 52 (noviembre de 2021): 397–407. http://dx.doi.org/10.1017/s0068113x21000374.

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Wilson, Pete. "4. NORTHERN ENGLAND". Britannia 47 (13 de septiembre de 2016): 303–18. http://dx.doi.org/10.1017/s0068113x16000349.

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Collins, Rob. "4. NORTHERN ENGLAND". Britannia 49 (13 de septiembre de 2018): 347–55. http://dx.doi.org/10.1017/s0068113x18000338.

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35

Collins, Rob. "4. NORTHERN ENGLAND". Britannia 50 (27 de agosto de 2019): 420–28. http://dx.doi.org/10.1017/s0068113x19000382.

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Collins, Rob. "4. NORTHERN ENGLAND". Britannia 51 (16 de septiembre de 2020): 397–406. http://dx.doi.org/10.1017/s0068113x20000410.

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37

Walas, Anna H. "4. NORTHERN ENGLAND". Britannia 53 (noviembre de 2022): 421–40. http://dx.doi.org/10.1017/s0068113x22000411.

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38

Walas, Anna H. "4. NORTHERN ENGLAND". Britannia 54 (noviembre de 2023): 349–60. http://dx.doi.org/10.1017/s0068113x23000296.

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Walas, Anna H. "ENGLAND 3. HADRIAN'S WALL". Britannia 52 (noviembre de 2021): 395–96. http://dx.doi.org/10.1017/s0068113x21000362.

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40

Wild, Felicity y David Shotter. "Roman North-West England". Britannia 17 (1986): 468. http://dx.doi.org/10.2307/526576.

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RCHME. "Excavations and Roman England". Britannia 26 (1995): 315. http://dx.doi.org/10.2307/526886.

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42

Jones, G. D. B., H. Welfare y V. Swan. "Roman Camps in England". Britannia 27 (1996): 489. http://dx.doi.org/10.2307/527079.

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43

Wilson, Pete. "ENGLAND 3. HADRIAN'S WALL". Britannia 47 (13 de septiembre de 2016): 298–302. http://dx.doi.org/10.1017/s0068113x16000337.

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44

Collins, Rob. "ENGLAND 3. HADRIAN'S WALL". Britannia 49 (24 de septiembre de 2018): 342–47. http://dx.doi.org/10.1017/s0068113x18000326.

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45

Collins, Rob. "ENGLAND 3. HADRIAN'S WALL". Britannia 50 (27 de agosto de 2019): 416–19. http://dx.doi.org/10.1017/s0068113x19000370.

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46

Collins, Rob. "ENGLAND 3. HADRIAN'S WALL". Britannia 51 (16 de septiembre de 2020): 395–97. http://dx.doi.org/10.1017/s0068113x20000409.

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47

Walas, Anna H. "ENGLAND 3. HADRIAN'S WALL". Britannia 53 (noviembre de 2022): 410–20. http://dx.doi.org/10.1017/s0068113x2200040x.

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48

Walas, Anna H. "ENGLAND 3. HADRIAN'S WALL". Britannia 54 (noviembre de 2023): 341–49. http://dx.doi.org/10.1017/s0068113x23000284.

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49

Whitmarsh, Tim. "What Samuel Butler saw: Classics, authorship and Cultural Authority in late Victorian England". Proceedings of the Cambridge Philological Society 48 (2002): 66–86. http://dx.doi.org/10.1017/s0068673500000833.

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They are taught what is called the hypothetical language for many of their best years – a language which was originally composed at a time when the country was in a very different state of civilisation to what it is at present, a state which has long since disappeared and been superseded. Many valuable maxims and noble thoughts which were at one time concealed in it have become current in their modern literature, and have been translated over and over again into the language now spoken. Surely then it would seem that the study of the original language should be confined to the few whose instincts led them naturally to pursue it.But the Erewhonians think differently; the store they set by this hypothetical language can hardly be believed; they will even give any one a maintenance for life if he attains a considerable proficiency in the study of it; nay, they will spend years in learning to translate some of their own good poetry into the hypothetical language – to do so with fluency being the mark of a scholar and a gentleman. Heaven forbid that I should be flippant, but it appeared to me to be a wanton waste of good human energy that men should spend years and years in the perfection of so barren an exercise, when their own civilisation presented problems by the hundred which cried aloud for solution and would have paid the solver handsomely; but people know their own affairs best.

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McWebb, Christine. "University of Alberta". Florilegium 20, n.º 1 (enero de 2003): 59–61. http://dx.doi.org/10.3138/flor.20.015.

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Apart from numerous survey courses such as the Histories of Medicine, of Technology, of Art, and the Literature of the European Tradition—all of which span several centuries including the Middle Ages, and are offered by various departments of the Faculty of Arts, there is a fairly strong contingent of special topics courses in medieval studies at the University of Alberta. For example, Martin Tweedale of the Department of Philosophy offers an undergraduate course on early medieval philosophy. There are currently three medievalists in the Department of History and Classics. Andrew Gow regularly teaches courses on late medieval and early modern Europe. John Kitchen is a specialist in medieval religion, medieval intellectual history, the history of Christian holy women and medieval Latin literature. Kitchen currently teaches an undergraduate course on early medieval Europe. Thirdly, J.L. Langdon, a specialist in British Medieval history, teaches a course on the formation of England in which he covers the political, social, economic and religious developments of England from the fifth to the twelfth century.

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