Acceder

Bibliografías temáticas / Gothic revivial / Artículos de revistas

Artículos de revistas sobre el tema "Gothic revivial"

Siga este enlace para ver otros tipos de publicaciones sobre el tema: Gothic revivial.

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros

Elija tipo de fuente:

Consulte los 50 mejores artículos de revistas para su investigación sobre el tema "Gothic revivial".

Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.

También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.

Explore artículos de revistas sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.

1

Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film". Text Matters, n.º 6 (23 de noviembre de 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

Texto completo

Resumen

Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.

Los estilos APA, Harvard, Vancouver, ISO, etc.

2

Spieler, Christof y Moyeen Haque. "Gothic Revival". Civil Engineering Magazine Archive 75, n.º 4 (abril de 2005): 36–45. http://dx.doi.org/10.1061/ciegag.0000016.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

3

Ditum, Sarah. "Gothic revival". Lancet 392, n.º 10155 (octubre de 2018): 1300. http://dx.doi.org/10.1016/s0140-6736(18)32398-5.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

4

Harkrader, Nina E. y Michael J. Lewis. "The Gothic Revival". APT Bulletin 35, n.º 2/3 (2004): 77. http://dx.doi.org/10.2307/4126409.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

5

Barringer, T. "The Gothic Revival". Journal of Design History 13, n.º 4 (1 de enero de 2000): 351–52. http://dx.doi.org/10.1093/jdh/13.4.351.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

6

Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’". Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.

Texto completo

Resumen

Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market.’ His most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741-42).

Los estilos APA, Harvard, Vancouver, ISO, etc.

7

Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”". Observatory of Culture 15, n.º 5 (14 de diciembre de 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.

Texto completo

Resumen

The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Elizabethan architecture and Gothic tradition has been discussed many times. And in later decades — during the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.

Los estilos APA, Harvard, Vancouver, ISO, etc.

8

Bullen, J. B. "The Romanesque Revival in Britain, 1800–1840: William Gunn, William Whewell, and Edmund Sharpe". Architectural History 47 (2004): 139–58. http://dx.doi.org/10.1017/s0066622x00001738.

Texto completo

Resumen

The Romanesque revival, like the Gothic revival, was an international movement. It passed easily across national boundaries and its effects were felt throughout Europe and across America. In Britain it was overshadowed by the Gothic revival out of whose historiography it grew, and is easily confused with the Norman revival that enjoyed considerable popularity in the 1830s and 1840s. Both the Norman revival and the study of the Romanesque were the fruit of British antiquarianism, because in the eighteenth and early nineteenth centuries there was in this country a well developed scholarly interest in pre-Gothic, round-arched buildings.

Los estilos APA, Harvard, Vancouver, ISO, etc.

9

Degtyarev, Vladislav V. "THE GOTHIC REVIVAL AND GOTHIC AS A DEVICE". Articult, n.º 2 (2018): 136–43. http://dx.doi.org/10.28995/2227-6165-2018-2-136-143.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

10

Hart, Adam Charles. "Transitional Gothic: Hammer's Gothic Revival and New Horror". Studies in the Fantastic 6, n.º 1 (2018): 1–21. http://dx.doi.org/10.1353/sif.2018.0000.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

11

Aspin, Philip. "‘Our Ancient Architecture’: Contesting Cathedrals in Late Georgian England". Architectural History 54 (2011): 213–32. http://dx.doi.org/10.1017/s0066622x00004056.

Texto completo

Resumen

Recent research has transformed our understanding of the late eighteenth and early nineteenth centuries as a phase in the wider process of the Gothic Revival. While historical writing on the Gothic Revival had previously tended to see the significance of the period between 1790 and 1820 largely in terms of its academic contribution to the later development of Victorian Gothic Revival architecture, emphasizing especially the role of antiquarian scholarship in providing a basis of archaeological accuracy upon which subsequent architects could draw, more diverse angles have been opened up within the last couple of decades. Research by Simon Bradley, Chris Brooks and others has illuminated debates on the origins of the Gothic style itself and the patriotic language underpinning them, and has added greatly to our understanding of the associations between Gothic and ‘Englishness’. Rosemary Hill has investigated the ambiguous and problematic religious connotations of Gothic. Simon Bradley has authoritatively anatomized the increasingly enthusiastic take-up of Gothic by the Anglican Church in the first few decades of the nineteenth century, and has uncovered a rich prehistory of ecclesiological principles before the foundation of the Camden Society and all its powerfully misleading retrospective propaganda.

Los estilos APA, Harvard, Vancouver, ISO, etc.

12

McAleer, J. Philip. "St. Mary's (1820-1830), Halifax: An Early Example of the Use of Gothic Revival Forms in Canada". Journal of the Society of Architectural Historians 45, n.º 2 (1 de junio de 1986): 134–47. http://dx.doi.org/10.2307/990092.

Texto completo

Resumen

Early Gothic Revival architecture in Canada, particularly from the period prior to the 1840s, when the influence of A. W. N. Pugin and the Ecclesiologists began to be felt, has been little studied. This paper reconstructs a lost monument-St. Mary's, in Halifax, Nova Scotia, as erected 1820-1830-which may have been the first ambitious essay in the Gothic Revival style, especially as it apparently precedes by a few years the single and most famous monument of this time, the parish church of Notre-Dame in Montréal, itself often considered the starting point of the style in Canada. Although the exterior of St. Mary's was modest-essentially it was an exemplar of the rectangular box with "west" tower, definitively formulated by James Gibbs, and ubiquitous since the 1720s-with Gothic detailing replacing Baroque, the interior, known only from one watercolor and partly surviving today, is of greater interest. Divided into nave and aisles by piers of clustered shafts, the piers' form, plus plaster vaults and pointed arches, helped create an aura reminiscent of the Gothic period. The interior was dominated by the design of the sanctuary (now destroyed), where an unusual congregation of architectural forms suggests both the appearance of illusionistic architecture, with a possible connection to New York, and a further transformation of Baroque forms into their Gothic equivalents, with a possible connection to Québec City. Tenuous, circumstantial evidence will be provided to substantiate the plausibility of such sources. This paper also attempts to place St. Mary's in the context of the Gothic Revival in North America c. 1820-1830. As a result, it will be seen that its exterior, although without precedents in Canada, is typical of Gothic Revival churches of the period in the United States. By contrast, the interior design, especially of the sanctuary, suggests it was one of the more imaginative creations in either context. It therefore emerges as a more significant monument in the history of Canadian and North American architecture than heretofore suspected.

Los estilos APA, Harvard, Vancouver, ISO, etc.

13

Colleoni, Paola. "A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97". Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.

Texto completo

Resumen

ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.

Los estilos APA, Harvard, Vancouver, ISO, etc.

14

Hunt, John Dixon y Michael McCarthy. "The Origins of the Gothic Revival." Eighteenth-Century Studies 22, n.º 4 (1989): 635. http://dx.doi.org/10.2307/2739100.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

15

CURL, J. S. "The Origins of the Gothic Revival". Journal of Design History 1, n.º 2 (1 de enero de 1988): 145–46. http://dx.doi.org/10.1093/jdh/1.2.145.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

16

Corti, Francisco y Ofelia Manzi. "The English Gothic Revival in Argentina". Visual Resources 17, n.º 3 (enero de 2001): 289–319. http://dx.doi.org/10.1080/01973762.2001.9658597.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

17

Hammond, Erin A. "Sight Unseen: Mediating Vision and Emotion in Gothic Revival Churches c.1830–50". Emotions: History, Culture, Society 6, n.º 1 (22 de junio de 2022): 117–34. http://dx.doi.org/10.1163/2208522x-02010149.

Texto completo

Resumen

Abstract With the revival of Gothic ecclesiastical architecture in nineteenth-century Britain, a cultural interest in church furnishings reignited alongside intellectual attention to their symbolic and emotive power. Rood screens, in particular, became both a symbolic and literal locus for the production of awe, mystery and revelation. The primitive interpretation of rood screens both exalted the object symbolically and allowed it to activate the spiritual senses by limiting physical sight to the altar, thus preserving the mysteries of the Eucharist. This essay considers how rood screen controversies during the mid-Victorian period unveil complex relationships between emotion, revelation and sight within Gothic Revival church interiors.

Los estilos APA, Harvard, Vancouver, ISO, etc.

18

CURL, J. S. "Anthony Salvin: Pioneer of Gothic Revival Architecture". Journal of Design History 2, n.º 1 (1 de enero de 1989): 56–57. http://dx.doi.org/10.1093/jdh/2.1.56.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

19

McCarthy, Michael. "Soane's "Saxon" Room at Stowe". Journal of the Society of Architectural Historians 44, n.º 2 (1 de mayo de 1985): 129–46. http://dx.doi.org/10.2307/990025.

Texto completo

Resumen

The history of the building of the Gothic Revival library and adjoining lobby and staircase in Stowe House, Buckinghamshire, from 1805 to 1807 by John Soane is discussed in detail following a sequence established by the drawings for the commission and corroborated by letters, accounts, and office records in manuscript. These documents, for the most part preserved in the Sir John Soane Museum, London, have not previously been examined or published in detail in connection with the building, and they allow a very close demonstration of the working of the Soane office. The importance of the Stowe library in Soane's oeuvre is suggested by reference to his earlier and his later works. Though he is generally considered to have been unhappy or unfortunate in his Gothic Revival work, it is argued here that this commission allowed free rein to the expression of his artistic personality and is a notable example of successful historicism. It is further argued that in its close fidelity to the historical model chosen, the Chapel of King Henry VII in Westminster Abbey, the Stowe library represents the culmination of a trend in architectural design that originated with Horace Walpole and was of the first importance to the pioneers of the Gothic Revival, especially of Soane's early patron and friend, Thomas Pitt, Lord Camelford, who had designed the house at Stowe. This commission deserves far greater attention, therefore, than it has received hitherto in the literature of the Gothic Revival. Finally, the iconographical justification of the choice of style and the appropriateness of the model selected by Soane and the Marquis of Buckingham is established by reference to the publications of the antiquary Thomas Astle, whose manuscript collection was to be housed in the new library.

Los estilos APA, Harvard, Vancouver, ISO, etc.

20

Whelan, Debbie. "Snippets from the north: Architects in Durban and their response to identity, common culture and resistance in the 1930s". VITRUVIO - International Journal of Architectural Technology and Sustainability 4, n.º 1 (18 de junio de 2019): 26. http://dx.doi.org/10.4995/vitruvio-ijats.2019.11774.

Texto completo

Resumen

<p class="Abstracttext-VITRUVIOCxSpFirst">Previously colonized by both Holland and Britain, South Africans have always borrowed; many taking aesthetic clues from memories of ‘home’. Applied seemingly irrelevantly, these ‘clues’ often border on the pastiche. Pre and post Union in 1910, the British-controlled colonies of Natal and the Cape absorbed imported architectural influences which not only introduced an Arts and Crafts layer to Victorian Gothic and Classical revivals, but introduced vital new ideas, namely Art Deco and Modernism.</p><p class="Abstracttext-VITRUVIOCxSpFirst">Somehow this polemic embraced another revival: a melange of Tudor and Elizabethan focusing on detail, craftsmanship and nostalgia. The ‘Tudorbethan’ Revival occurred at a vital point in the inter-war era, and it is contended that this style demonstrated a calculated resistance to the hybrid ‘Union Period’ architecture and its political role in forging a common diasporic identity and culture in the 1930s, rather than a mere application of fashion.</p><p class="Abstracttext-VITRUVIOCxSpFirst">This paper situates the Tudorbethan Revival within contemporary architectural themes in Durban, South Africa, and contextualises the socio-political production of buildings between the wars before examining the works of architects who conceived this well-crafted, nostalgic and irrelevant architecture. It concludes by comparing this complex aesthetic with the contemporary architectural thread of ‘Gwelo’ Goodman’s Cape Dutch Revival suggesting the degree to which domestic architecture is able to support political positions in contested societies.</p>

Los estilos APA, Harvard, Vancouver, ISO, etc.

21

Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG". Riset Arsitektur (RISA) 2, n.º 04 (16 de octubre de 2018): 360–75. http://dx.doi.org/10.26593/risa.v2i04.3047.360-375.

Texto completo

Resumen

Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in the past. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Style of Gothic Architecture on the building. The application of elements of gothic architecture is not only visible from the outside of the church, but also on the inside of the church. For that, it will be further investigated about the application of any gothic elements contained in the study object.Gothic architectural elements are divided into several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to Gothic Revival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in each period of development. In this research, discussed theories about elements in gothic architecture based on its development. There are 17 elements analyzed in this research. These seventeen elements are summarized into three major sections covering the structural elements, non-structural elements, and spatial arrangements. Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describing the elements present in the study object and then compared with the gothic architectural elements of the gothic period described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elements observed, 12 elements of which are adapted from the building elements contained in the period of neo-gothic architecture. Key Words: Gothic, Period, Element, Architecture, Neo-Gothic

Los estilos APA, Harvard, Vancouver, ISO, etc.

22

Manzi, Ofelia y Patricia Grau-Dieckmann. "The Chapel of La Misericordia in the Quarter of Flores, Buenos Aires". Eikon / Imago 3, n.º 1 (10 de junio de 2014): 1–28. http://dx.doi.org/10.5209/eiko.73386.

Texto completo

Resumen

One of the most interesting areas of research of the Gothic Revival in Argentina is the study of chapels built for the use of religious schools’ communities. Among these, the Chapel of La Misericordia helped to determine the scope and characteristics of the neo-Gothic style in Argentina. The windows are a recreation of the Gothic openings. Their decorative motifs derive from Winchester style manuscripts, while the figures clearly show Pre-Raphaelite reminiscences. This apparent aesthetic paradox conveys a message unchanged for centuries in a traditional medium such as a neo-Gothic cover, although adapted to the sentimental sensitivity for a girls’ school chapel. In this article we will focus on the iconographic analyses of the astounding stained-glass windows crafted in the 1930s by the Tiroler Glasmalerei Anstalt of Innsbruck.

Los estilos APA, Harvard, Vancouver, ISO, etc.

23

Kalter, Barrett. "DIY Gothic: Thomas Gray and the Medieval Revival". ELH 70, n.º 4 (2003): 989–1019. http://dx.doi.org/10.1353/elh.2004.0006.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

24

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.

Texto completo

Resumen

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.

Los estilos APA, Harvard, Vancouver, ISO, etc.

25

Чекмарев, В. М. "ESTABLISHMENT OF ENGLISH NEO-GOTHIC AT THE TURN OF THE 18 CENTURY. ON THE PROBLEM DEFINITION". ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, n.º 1(12) (17 de febrero de 2020): 236–47. http://dx.doi.org/10.25995/niitiag.2019.12.1.011.

Texto completo

Resumen

Статья посвящена проблеме становления неоготической традиции в архитектуре Британии на рубеже XVII-XVIII вв. Вопрос о начале возрождения интереса к готическому наследию в Англии достаточно сложен. Однако само его рассмотрение приобретает особую актуальность в контексте пришедшегося на XVIII-XIX вв. общеевропейского интереса к возрождению национальных особенностей средневекового зодчества. Традиции готического строительства в Англии практически никогда не прекращали своего существования, однако следует различать их от сознательного воскрешения средневекового наследия, происходящего на рубеже эпохи Стюартов и георгианского времени. На примере как церковных, так и светских построек трех крупнейших британских архитекторов этого времени: К. Рена, Н. Хоксмура и Дж. Ванбру - прослеживаются пути интеграции готических элементов в художественную систему барокко. Важно отметить, что именно восприятие и интерпретация готической традиции, происходящая в рамках эстетики барокко, существенным образом отличает эти памятники от построек середины XVIII в., относящихся к так называемому периоду «рокайльной неоготики». Английское неоготическое движение рубежа XVII-XVIII вв. было вызвано к жизни всем спектром условий переломного в художественном отношении периода. Самый факт появления этого феномена свидетельствует о наличии своеобразного противоречия, когда еще новые, находящиеся в процессе становления эстетические идеи, будучи соответственно материализованы средствами архитектурной пластики, вынуждены изначально существовать в узких рамках уже сложившихся и признанных стилевых форм. Поначалу практически неотделимая от иных стилистических установок неоготика наиболее зримо заявляет о себе на завершающем этапе развития в Англии стиля барокко. Ее зарождение, по сути, пришлось на время стилистической неопределенности или неполной выраженности того или иного архитектурного направления в русле целостной национальной культуры. The article concerns the problem of the Neo-Gothic tradition establishment in Britatin at the turn of the 18th century. The question when the revival of the interest toward the Gothic heritage first took place is rather complicated. This phenomenon is a part of a more wide process of arising interest for the national medieval heritage in Europe. Traditions of Gothic architecture practically never stopped in England, but it is important to stress the difference between them and the revival of medieval heritage in Late Stuart epoch and at the turn of the Georgian era. As an example the works of three most important Britain architects of the period (C. Wren, N. Hawksmoor and J. Vanbrough) are chosen to show the ways how the Gothic elements were integrated in the artistic system of the Baroque. It is also important to stress that the reception and interpretation of Gothic tradition of this period differs from that seen in the buildings of the middle of the 18th century, the period of so called Rococo Gothic. English Gothic revival at the turn of the 18th century was inspired by the complicated conditions of this crucial period. The fact that this phenomenon emerges shows a certain contradiction between the new esthetic ideas that had to exist within the old stylistic system. Neo-Gothic first proclaims its existence in England at the end of the Baroque epoch. It establishes in the time of some stylistic uncertainty in the national architecture and culture in general.

Los estilos APA, Harvard, Vancouver, ISO, etc.

26

McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio". Gothic Studies 24, n.º 2 (julio de 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

Texto completo

Resumen

Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.

Los estilos APA, Harvard, Vancouver, ISO, etc.

27

Farris, Katie. "Hair Epoch, and: Architecture of Desire, Gothic Revival Edition". Pleiades: Literature in Context 38, n.º 2 (2018): 67–68. http://dx.doi.org/10.1353/plc.2018.0120.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

28

Frew, John. "Review: Anthony Salvin, Pioneer of Gothic Revival Architecture, 1799-1881 by Jill Allibone; The Origins of the Gothic Revival by Michael McCarthy". Journal of the Society of Architectural Historians 48, n.º 4 (1 de diciembre de 1989): 400–402. http://dx.doi.org/10.2307/990463.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

29

Stewart, David. "Political Ruins: Gothic Sham Ruins and the '45". Journal of the Society of Architectural Historians 55, n.º 4 (1 de diciembre de 1996): 400–411. http://dx.doi.org/10.2307/991181.

Texto completo

Resumen

Many Gothic sham ruins erected after the Jacobite Rebellion of 1745 were produced as attacks on England's Catholic and baronial past. Such ruins were not simply images of picturesque beauty or of nostalgia: rather, they were monuments of ridicule and images of just destruction, commemorating the defeat of Charles Edward, the Young Pretender, by the forces of George II. The Young Pretender threatened England with the return of monasteries, the return of the tyranny of John and Charles I, and the return to the power of the pope in England. The one thing that many eighteenth-century Englishmen did not want was a genuine return to the Gothic past; such a return threatened to extinguish much that eighteenth-century Whiggism had accomplished. The Gothic sham ruins discussed in this essay were the product not of a deep sense of cultural respect, but, in fact, for some, of a sense of cultural opposition. Politics and religion help us to understand why Sanderson Miller, George Lyttelton, Lord Hardwicke, and William Shenstone built Gothic ruins. Distrust for things Gothic spread far beyond these four men: It extended from Horace Walpole at mid-century to William Gilpin at the end of the century, from the century's greatest leader of the Gothic Revival to the century's greatest promoter of the picturesque aesthetic.

Los estilos APA, Harvard, Vancouver, ISO, etc.

30

Lindfield, Peter. "HERALDRY AND THE ARCHITECTURAL IMAGINATION: JOHN CARTER’S VISUALISATION OFTHE CASTLE OF OTRANTO". Antiquaries Journal 96 (14 de julio de 2016): 291–313. http://dx.doi.org/10.1017/s0003581516000226.

Texto completo

Resumen

Horace Walpole (1717–97) is well known for two important Gothic projects: his villa, Strawberry Hill, Twickenham (1747/8–80), and his novel,The Castle of Otranto(1764). These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill,Otrantoand manuscript illustrations visualisingOtranto’s narrative has, on the other hand, received far less attention. This paper brings together a number of important and hitherto overlooked sources that help address this imbalance. In particular, it examines two large-scale watercolours by John Carter (1748–1817) that narrate some ofOtranto’s pivotal scenes, allowing critically overlooked subtleties in their iconographies to emerge. The work establishes how Carter’s pre-existing interests – in particular, in Gothic architectural forms and heraldry – are harnessed to govern his representations ofOtranto. These paintings, together with Carter’s other illustrations, demonstrate Walpole’s authorship ofOtranto, expressed through codes hidden in plain sight. Unlike the frequently touted link between Strawberry Hill andOtrantoin secondary criticism, Carter’s illustrations, the argument reveals, do not explicitly make this connection.

Los estilos APA, Harvard, Vancouver, ISO, etc.

31

Bobbitt, Elizabeth. "Ann Radcliffe’s Post-1797 Imagination: Edwy: A Poem, in Three Parts and the Topographical Gothic". Essays in Romanticism: Volume 29, Issue 1 29, n.º 1 (1 de abril de 2022): 69–88. http://dx.doi.org/10.3828/eir.2022.29.1.5.

Texto completo

Resumen

This essay considers how Ann Radcliffe’s post-1797 texts, posthumously published in 1826 almost thirty years after The Italian (1797), marks a new and significant shift in Radcliffe’s later imagination. Through this collection of prose, narrative poetry, and lyric verse, Radcliffe re-examines the Gothic as a genre which is fascinated with Britain’s national past, both in terms of the architectural remains of the nation’s history, and the texts which commemorate or interrogate such pasts. In investigating how Radcliffe responds to a contemporary revival in interest in Britain’s early heritage, this essay focuses on Radcliffe’s little-known fairy poem, entitled Edwy: A Poem, in Three Parts, set on the grounds of Windsor Castle. Edwy represents Radcliffe’s movement towards a self-conscious examination of her own Gothic topographies, in which she shifts to a specific representation of the sites of Britain’s national past, complicated by the inherent violence of their Gothic legacies.

Los estilos APA, Harvard, Vancouver, ISO, etc.

32

Mckendry, Jennifer. "The Attitude of John Nash toward the Gothic Revival Style". Journal of the Society of Architectural Historians 47, n.º 3 (septiembre de 1988): 295–96. http://dx.doi.org/10.2307/990303.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

33

Quiney, Anthony. "Anthony Salvin:pioneer of gothic revival architecture, 1799–1881. By JillAllibone". Archaeological Journal 146, n.º 1 (enero de 1989): 641–42. http://dx.doi.org/10.1080/00665983.1989.11021348.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

34

Lepine, Ayla. "The Persistence of Medievalism: Kenneth Clark and the Gothic Revival". Architectural History 57 (2014): 323–56. http://dx.doi.org/10.1017/s0066622x00001453.

Texto completo

Resumen

From his emergence on the cultural scene in the 1920s until his death in 1983, Kenneth Clark was one of the most influential figures in the history of British art and design, and his legacy remains strong. Clark’s life and work were entirely dedicated to communicating about art and transforming public understanding regarding its production and enjoyment. His first book,The Gothic Revival: An Essay in the History of Taste, investigated, condemned and elevated the status of Georgian and Victorian England’s enthusiasm for the Middle Ages. Written in the mid-1920s, it was published with Constable in 1928 when he was only twenty-five years old. By investigating the circumstances under which the book came to fruition and its importance in relation to Clark’s persistent interest in the Victorians — and John Ruskin in particular — a richer understanding of Clark’s ideas and beliefs can take shape.

Los estilos APA, Harvard, Vancouver, ISO, etc.

35

Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15". Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.

Texto completo

Resumen

AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.

Los estilos APA, Harvard, Vancouver, ISO, etc.

36

Reeve, Matthew M. "Dickie Bateman and the Gothicization of Old Windsor: Gothic Architecture and Sexuality in the Circle of Horace Walpole". Architectural History 56 (2013): 97–131. http://dx.doi.org/10.1017/s0066622x0000246x.

Texto completo

Resumen

Mr Dicky Bateman was a typical eccentric, who resembled his friend Horace Walpole in his Gothic affectation, and [John] Wilkes in his impious buffoonery.In one of the witty characterizations for which he is justifiably famous, Horace Walpole described the subject of this article — the transformation of the villa at Old Windsor owned by his friend, Richard (Dickie) Bateman — as a bout of one-upmanship between two men of taste: ‘[I] converted Dicky Bateman from a Chinese to a Goth […] I preached so effectively that every pagoda took the veil’. He later described the change of the style of Bateman’s house in terms of spiritual affiliation: Bateman’s house had ‘changed its religion […] I converted it from Chinese to Gothic’. Here as elsewhere in the early years of the Gothic Revival, Walpole serves as principal interlocutor, providing keen, if sharply biased, insights on many significant building projects in England. Walpole positions himself as a teacher and Bateman as a disciple whom he convinced to change his tastes from Chinoiserie (‘the fashion of the instant’) to the Gothic, the style ‘of the elect’. Walpole’s clever allegory of stylistic change as national and religious conversion was based in part on the fact that he provided the conduit for Richard Bentley and Johann Heinrich Müntz, two of his closest designers in the ‘Committee of Taste’, to design Gothic additions for Bateman between 1758-61. Rebuilt and expanded in the fashionable mode of Walpole’s own Strawberry Hill and by its designers, from Walpole’s perspective at least, Old Windsor as remodelled for Bateman served to reinforce his role as arbiter of the Gothic taste and Strawberry Hill as its paradigm.

Los estilos APA, Harvard, Vancouver, ISO, etc.

37

Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia". Journal of the Society of Architectural Historians 70, n.º 4 (1 de diciembre de 2011): 466–91. http://dx.doi.org/10.1525/jsah.2011.70.4.466.

Texto completo

Resumen

Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Roof Tiles and National Style in Nineteenth-century Croatia, this architecture is placed in the context of the Gothic Revival in the Austro-Hungarian monarchy and the collecting and analysis of traditional textiles by the amateur ethnographer Felix (Srećko) Lay.

Los estilos APA, Harvard, Vancouver, ISO, etc.

38

Anderson, Pat. "The Other Gothic Revival: Contemporary Ideals in English Revivalism, 1730-1840". Canadian Journal of History 22, n.º 1 (abril de 1987): 1–18. http://dx.doi.org/10.3138/cjh.22.1.1.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

39

McNaughton, Howard. "Re-inscribing the urban abject: Ngai Tahu and the Gothic Revival". New Zealand Geographer 65, n.º 1 (abril de 2009): 48–58. http://dx.doi.org/10.1111/j.1745-7939.2009.01147.x.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

40

Sundt, Richard Alfred. "A Dream of Spires: Benjamin Mountfort and the Gothic Revival (review)". Victorian Studies 43, n.º 4 (2001): 676–77. http://dx.doi.org/10.1353/vic.2001.0119.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

41

Myles, Janet. "L.N. Cottingham's Museum of Mediaeval Art: Herald of the Gothic Revival". Visual Resources 17, n.º 3 (enero de 2001): 253–87. http://dx.doi.org/10.1080/01973762.2001.9658596.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

42

Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*". Renaissance Quarterly 50, n.º 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

Texto completo

Resumen

A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For example, the setting and the costumes betray a confusion about the periodization of Gothic and Renaissance: the room in which the scene takes place is of Gothic revival design, while another room - in neo-classical style - opens beyond; the king's costume is historically correct, but Marguerite could be Maid Marian.

Los estilos APA, Harvard, Vancouver, ISO, etc.

43

Worsley, Giles. "The Origins of the Gothic Revival: A Reappraisal: The Alexander Prize Essay". Transactions of the Royal Historical Society 3 (1993): 105. http://dx.doi.org/10.2307/3679138.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

44

Santa Ana Lozada, Lucia. "Gothic revival in Mexico: French theory, English practices and the Stonemason’s craft". postmedieval: a journal of medieval cultural studies 6, n.º 3 (septiembre de 2015): 340–57. http://dx.doi.org/10.1057/pmed.2015.29.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

45

Goff, Lisa. "“Something prety out of very little”". Journal of the Society of Architectural Historians 78, n.º 1 (1 de marzo de 2019): 49–67. http://dx.doi.org/10.1525/jsah.2019.78.1.49.

Texto completo

Resumen

In “Something prety out of very little”: Graniteville Mill Village, 1848, Lisa Goff describes how Charleston entrepreneur William Gregg built Graniteville, South Carolina, to prove the viability of southern manufacturing, which he believed could help avert war between South and North, and to quell planters’ fears that industry would mar the beauty of the South. The village's whitewashed Carpenter Gothic cottages, with matching hotel, school, and church designed by Richard Upjohn, were intended to instill virtues of hard work, clean living, and respect for authority in a white workforce drawn from surrounding farms. Gregg exercised a patriarch's control over his industrial utopia, but the nicknames workers gave the place, and what they told visiting missionaries, show that they experienced Gregg's Gothic hamlet on their own terms. An avid gardener and horticulturist active in the Episcopal Church, Gregg would have been aware of the claims to moral superiority associated with the Gothic Revival style. Goff's analysis of letters, published articles, corporate reports, and advertisements in local newspapers reveals that Gregg's strategies of social contol—adapted from his study of Robert Owen and David Dale—had sinister underpinnings: programmed for hard work at low wages by the “ethical” architecture and orderly “natural” landscape, a white, largely female workforce would insulate the Graniteville Mill from the effects of abolition, should it come.

Los estilos APA, Harvard, Vancouver, ISO, etc.

46

Smeenk, Chris. "The Peters Collection and the Leliman Library of the University of Technology, Delft". Art Libraries Journal 12, n.º 1 (1987): 39–41. http://dx.doi.org/10.1017/s0307472200005046.

Texto completo

Resumen

The Library of the Faculty of Architecture in the University of Technology at Delft includes two important private collections. The Peters Collection comprises material formerly owned by the Gothic Revival architect Cornelis Hendrick Peters and includes architectural and topographical drawings and prints as well as books. The Leliman Library comprises the library of the Classical architect J.H. Leliman, augmented by his son, Johannes Hendrik Willem Leliman, himself an architect who specialized in housing, an associate of the garden city movement and advocate for the preservation of old buildings.

Los estilos APA, Harvard, Vancouver, ISO, etc.

47

Gosztyła, Marek y Rafał Lichołai. "Analysis of Gothic Revival churches designed by Stanislaw Majerski located in Podkarpacie District". E3S Web of Conferences 49 (2018): 00034. http://dx.doi.org/10.1051/e3sconf/20184900034.

Texto completo

Resumen

The main purpose of this article was to perform an analysis of the geometric characteristics for Gothic Revival churches located in the Podkarpacie District. The authors explored five churches designed by Stanisław Majerski - an architect from Przemyśl who created at the beginning of the 20th century. In order to create point clouds of the studied buildings, the authors used the TLS method to provide the credibility of the study. The obtained data were subjected to statistical analysis. Geometry of the facades, spatial systems and trajectory of vault arch were examined. As a result, we obtained estimated values of studied parameters that characterized the geometric oscillate of Stanisław Majerski’s churches.

Los estilos APA, Harvard, Vancouver, ISO, etc.

48

Grignon, Marc. "Charles Baillairgé’s Interpretation of the Gothic Revival and the “Cathedral” of Beauport, Quebec". Journal of the Society for the Study of Architecture in Canada 43, n.º 1 (2018): 33. http://dx.doi.org/10.7202/1049406ar.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

49

Aldrich, Megan B. "Modern Gothic: The Revival of Medieval Art. Susan B. Matheson , Derek D. Churchill". Studies in the Decorative Arts 9, n.º 1 (octubre de 2001): 163–66. http://dx.doi.org/10.1086/studdecoarts.9.1.40662809.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

50

KIRKHAM, P. "Victorian and Edwardian Furniture and Interiors from the Gothic Revival to Art Nouveau". Journal of Design History 2, n.º 1 (1 de enero de 1989): 55–56. http://dx.doi.org/10.1093/jdh/2.1.55.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

Ofrecemos descuentos en todos los planes premium para autores cuyas obras están incluidas en selecciones literarias temáticas. ¡Contáctenos para obtener un código promocional único!