Bibliographies thématiques / Classicism – england

Littérature scientifique sur le sujet « Classicism – england »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Classicism – england"

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Terletska, D., et 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, no 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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van der Woude, Joanne. « Indians and Antiquity : Subversive Classicism in Early New England Poetry ». New England Quarterly 90, no 3 (septembre 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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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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Jordan, Elizabeth T. « Inigo Jones and the Architecture of Poetry* ». Renaissance Quarterly 44, no 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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Mocevičius, Albinas. « KLASICISTINIO STILIAUS PARKŲ MENO TENDENCIJOS BEI RAIDA EUROPOJE IR LIETUVOJE ». JOURNAL OF ARCHITECTURE AND URBANISM 33, no 3 (30 septembre 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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Smylitopoulos, Christina. « Then and Now : Collecting and Classicism in Eighteenth-Century England by Joan Coutu ». University of Toronto Quarterly 87, no 3 (août 2018) : 424–26. http://dx.doi.org/10.3138/utq.87.3.89.

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Ternova, Maryna. « Outlines of theoretical and practical parity in the legacy of Joseph Addison ». Culturology Ideas, no 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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Groznov, O. D. « The Transformation of Classical Order in John Soane’s Architecture ». Art & ; Culture Studies, no 1 (2021) : 86–103. http://dx.doi.org/10.51678/2226-0072-2021-1-86-103.

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The article provides a new approach to study the oeuvre of an architect-neoclassicist Sir John Soane. This approach is concerned to an original interpretation of architectural order by Soane. Studying the metamorphosis of classical order in Soane’s architecture can help to understand the evolution and particularity of Soane’s individual style and also to define the specific place of this style in the neo-classicist movement. The article describes the development of the architectural order in England (since the 16th century to the beginning of the 19th century) and some specific features of the John Soane’s approach to the application of the architectural order system. The author analyzes different ways of interpretation of the order decoration in the work of John Soane, referring to such buildings as the John Soane House in London (the architect’s Museum now), the Dulwich Picture Gallery and the Bank of England, which was heavily rebuilt in the 20th century, but well-known in its original appearance — from drawings, photographs and descriptions. Other buildings of Soane are also examined in the article. The research is based on two methods — stylistic analysis (of particular buildings and its details) and analysis of historic and cultural aspects of Soane’s work (for better understanding of its theoretical and practical origins and the very reason of its genesis). The preliminary results of the research show that the transformation of classical order’s key elements is going hand in hand with the development of two different phenomena — the style of Soane itself and the situation in European culture of the second part of the 18th century when some significant movements (Neo-classicism, Gothic Revival, etc.) were developing, intersecting and interchanging with one another.
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STEWART, LOUISE. « SOCIAL STATUS AND CLASSICISM IN THE VISUAL AND MATERIAL CULTURE OF THE SWEET BANQUET IN EARLY MODERN ENGLAND ». Historical Journal 61, no 4 (18 juin 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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Karyakina, Tatyana Dmitrievna. « Portrait in Western European porcelain of the XVIII century ». Исторический журнал : научные исследования, no 5 (mai 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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Thèses sur le sujet "Classicism – england"

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Anderson, Christy Jo. « Inigo Jones's library and the language of architectural classicism in England, 1580-1640 ». Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/12670.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1993.
Vita.
Includes bibliographical references (v. 2, leaves 330-351).
Inigo Jones's collection of books is a unique and early survival of an architect's annotated library. The combination of standard sixteenth century Italian and French editions of classics, mathematical and scientific treatises, and specialized architectural books, comprised the library of a professional whose approach to his field was based on an understanding of practical humanism and the study of antique precedent. The library is the starting point for an investigation of the relationship of humanist learning and the creation in England of a classical architectural vocabulary. The forty~s ix books record in Jones's marginal annotations to the text and plates his interpretation of continental architecture and textual exegesis. For Jones, books were a crucial resource for the study of classical architecture as practiced in continental Europe; and necessary for an understanding of the intellectual precepts inherent in that architectural vocabulary. Jones's architectural self~education reflected and repeated the desire by patrons for a visible document of their humanist learning and aspirations. From the evidence of the marginal annotations by Jones, I discuss three central themes of the shift in architectural style in England during the period 1580 to 1640: the role of reading as an essential professional skill for the architect and its mnemonic function in design method; the use and significance of the orders as a system for representing ideas of personal and public decorum and learning; and Jones's use of the methods and resources of English antiquarians in his study of ancient architectural precedent. Each of these themes are located within the cultural and intellectual history of Renaissance England. The descriptive language created for architecture, and the images used to encourage its study, was the language of education and classical learning, and specifically, the language of books. The appropriation by Jones and his patrons of the Vitruvian notion of decorum- the distinction between the exterior of a building and its internal distribution- formed a central tenet of English classicism, in Jones's terms the creation of an architecture "masculine and unaffected." The library of Inigo Jones represented one of the architect's essential professional tools, a repository of ideas and models which could serve as an ever present resource and comparable to other professional collections created by those seeking advancement within the late Tudor and early Stuart court. An annotated and descriptive bibliography of the surviving volumes, and further likely titles, attests to Jones's wide~ranging interests and design acumen.
by Christy Jo Anderson.
Ph.D.
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Arciszewska, Barbara. « The Hanoverian court and the triumph of Palladio : the Palladian revival in Hanover and England c. 1700 / ». Warsaw : Wydawn.DiG, 2002. http://www.loc.gov/catdir/toc/fy0609/2005478972.html.

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Stray, Christopher A. « Culture and discipline : the reconstruction of classics in England, 1830-1930 ». Thesis, Swansea University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502601.

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Challis, Deborah Joy. « Collecting classics : the reception of classical antiquities in public museums in England, 1830-1890 ». Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417268.

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Doyle, Alice. « "The Essence of Greekness" : The Parthenon Marbles and the Construction of Cultural Identity ». Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1209.

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This thesis explores the relationship between the Classical Greek legacy and today’s world by examining the past two hundred years of controversy surrounding Lord Elgin’s removal of the Parthenon Marbles from Athens. Since the Marbles were purchased by the British Museum in 1816, they have become symbols of democratic values and Greek cultural identity. By considering how the Parthenon Marbles are talked about by different people over the years, from art connoisseurs and Romantic poets of the early 19th century to nationalist political activists of the late 20th century, this thesis demonstrates that the fight for the Marbles’ return to Greece is about more than just the sculptures themselves. It is about national heritage and cultural identity.
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Livres sur le sujet "Classicism – england"

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White, Aaron. Classicism and Colonization : Architecture and its Discourses in Early-Modern England. [New York, N.Y.?] : [publisher not identified], 2022.

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Arciszewska, Barbara. The Hanoverian court and the triumph of Palladio : The Palladian revival in Hanover and England c. 1700. Warsaw : Wydawn.DiG, 2002.

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Leoussi, Athena S. Nationalism and classicism : The classical body as national symbol in nineteenth-century England and France. New York : St. Martin's Press, 1998.

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Okie, Laird. Augustan historical writing : Histories of England in the English enlightenment. Lanham : University Press of America, 1991.

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Eade, J. C. Aristotle anatomised : The Poetics in England, 1674-1781. Frankfurt am Main : Verlag Peter Lang, 1988.

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Stray, Christopher. Classics transformed : Schools, universities, and society in England, 1830-1960. Oxford : Clarendon Press, 1998.

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Wassyng, Roworth Wendy, et Alexander David, dir. Angelica Kauffman : A continental artist in Georgian England. London : Reaktion Books, 1992.

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Norland, Howard B. Neoclassical tragedy in Elizabethan England. Newark : University of Delaware Press, 2009.

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Loftis, John Clyde. The Spanish plays of neoclassical England. Westport, Conn : Greenwood Press, 1987.

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Knappe, Gabriele. Traditionen der klassischen Rhetorik im angelsächsischen England. Heidelberg : Universitätsverlag C. Winter, 1996.

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Chapitres de livres sur le sujet "Classicism – england"

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Leoussi, Athena S. « Images of Greece as Images of England ». Dans Nationalism and Classicism, 157–79. London : Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230372689_8.

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Farmer, Alan B., et Zachary Lesser. « Canons and Classics : Publishing Drama in Caroline England ». Dans Localizing Caroline Drama, 17–41. New York : Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601611_2.

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Li, Zhen. « The Influence of Ancient Chinese Cultural Classics in England ». Dans A Study on the Influence of Ancient Chinese Cultural Classics Abroad in the Twentieth Century, 73–82. Singapore : Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-7936-0_5.

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Clark, James G. « Monastic Manuscripts and the Transmission of the Classics in Late Medieval England ». Dans Vehicles of Transmission, Translation, and Transformation in Medieval Textual Culture, 335–52. Turnhout : Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.cursor-eb.1.100272.

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Knappe, Gabriele. « Manuscript Evidence of the Teaching of the Language Arts in Late Anglo-Saxon and Early Norman England, with Particular Regard to the Role of the Classics ». Dans Disputatio, 23–60. Turnhout : Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.disput-eb.1.100285.

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Secretan, Dominique. « England before the Restoration ». Dans Classicism, 20–25. Routledge, 2017. http://dx.doi.org/10.4324/9781315115429-3.

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Zhuang, Yue. « Eighteenth- and nineteenth-century classicism in England ». Dans The Routledge Handbook on the Reception of Classical Architecture, 135–48. Routledge, 2019. http://dx.doi.org/10.4324/9781315171104-9.

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Walshe, Eibhear. « Wilde, Classicism, and Homosexuality in Modern Ireland ». Dans Classics and Irish Politics, 1916-2016, 237–53. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864486.003.0012.

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This chapter explores how Irish writers since Oscar Wilde have invoked Hellenism when faced with public exposure of their homosexuality. Wilde is seen both as a dissident against England and, for gay writers, a champion and liberator. For James Joyce, Wilde was a figure of defiance and a fellow exile. Patrick Pearse never mentions Wilde, but seems to have been drawn to his sensibility in the parallels he suggests between ancient Greek and Irish masculinity. The writings of Brendan Behan are no less permeated by Wilde’s Hellenism. Following the decriminalization of homosexuality in Ireland, affiliation with Wilde could be openly acknowledged, as in Jamie O’Neill’s At Swim, Two Boys (2001), where Wilde is an iconic symbol of both homosexuality and patriotic rebellion. Controversy has been reframed, however, through media associations of Hellenism with paedophilia, and has embroiled politician David Norris and Irish-language poet Cathal Ó Searcaigh.
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MacKechnie, Aonghus. « Introduction ». Dans The Architecture of Scotland, 1660-1750, 3–14. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455268.003.0001.

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The book’s period-span is defined both by seismic political events and changing architectural fashions, so thisintroduction ties these two things together, providing a contextual backdrop. 1660s Scotland needed reconstruction following war and occupation. Militarised challenge to a replacement and anti-Catholic monarchy extended from 1689 until 1746; and meanwhile, the country entered union with England in 1707, exiting the international stage politically, but not architecturally. Scotland’s early Classicism provides a discrete episode within that time span, and also sits between its two castle ages: between rejection of the castle as a model, and its re-birth and popularisation.
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RuKeyser, Muriel. « Modern Trends : American Poetry (1932) ». Dans The Muriel Rukeyser Era, sous la direction de Eric Keenaghan et Rowena Kennedy-Epstein, 203–7. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501771743.003.0021.

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This chapter assesses how contemporary American poetry had divided itself into three trends: acceptance, despair, and hope towards something new and effective or towards death. These motions had their origins in three poets—Archibald MacLeish, T. S. Eliot, and Robinson Jeffers—and in reaction to the temperature of the century's first fifteen years. MacLeish's poetry is not wild with sound nor involute in fragmentary meanings, but one feels the bravery of his comprehension, the daring that allows him to face the implications of his race, and breed, and culture. Meanwhile, T. S. Eliot had decided in favor of Royalism, classicism, and the Church of England. Finally, Robinson Jeffers looked for material to stories of Greek proportions, and for locale to California, a place he uses to set scenes analogous to the country in their size, the furiousness of growth, the violence of struggle, the twin conflicting meanings of generation and death. The chapter then looks at light verse and labor poetry.
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