Littérature scientifique sur le sujet « Notre-Dame des Récollets (Work of art) »

The XX century showed how fragile and changeable the environment of human existence is. Transformations took place in all spheres of life, but especially interesting is the reflection of changes in art, namely in the cult architecture of Western Europe. Through the method of philosophical and art criticism analysis, which consists in a step-by-step examination of the work in its material, index and iconic aspects, the structure designed and built by the architect Le Corbusier Notre-Dame du Haut in Ronchamp was studied. Based on this method, the deep content of the work of art was revealed, many visual concepts were identified, for example, such as: embeddedness in nature, light as a sign of the Divine principle, the connection of man with the divine through the double altar of the temple, the co-presence of the principles, saving faith, transformation and transfiguration, transition, connection and (or) fusion of the principles, purification, human aspirations, the descent of the divine, the ascent of the human. In addition, during the research, the main artistic idea of the work was revealed, which was designated as the establishment of harmony. It is realized in relation to the temple and nature through the signs of water, light and in the likening of the forms of the structure to the hill. In another aspect, the establishment of harmony is manifested at a deeper level of the relationship between man and the Divine. In interaction, a person achieves inner spiritual results, going beyond himself and correlating with the Higher. In other words, harmony is established through the descent of the Divine and the reverse ascent of man into the higher space, while additionally linking earthly existence. Thus, the highlighted visual concepts clearly show how a non-religious person Le Corbusier in his creation achieves an important attitude to the world for a believer.

Georges Bataille's first text, “Notre-Dame de Rheims,” is in many ways not quite part of his oeuvre. Virtually unknown until after the author's death, its religiosity is generally considered an aberration in the context of his other writings. Yet traces of this text and the sentiment that inspired it can be found in an undercurrent of silent mourning that runs through many of his early articles on art and literature. Against the strong presence of the eye in the conceptual universe that Bataille constructs during the interwar period, this essay delineates a metaphorical order that centers on the ear, revealing an enduring sense of what can be described as a non-sacrificial, melancholy fetishism, in contrast with the orgiastic exuberance of sacrifice that dominates his work.

Recent studies have shown that the wearing of soft lens may lead to performance degradation with the increase of false reject rate. However, detecting the presence of soft lens is a non-trivial task as its texture that almost indiscernible. In this work, we proposed a classification method to identify the existence of soft lens in iris image. Our proposed method starts with segmenting the lens boundary on top of the sclera region. Then, the segmented boundary is used as features and extracted by local descriptors. These features are then trained and classified using Support Vector Machines. This method was tested on Notre Dame Cosmetic Contact Lens 2013 database. Experiment showed that the proposed method performed better than state of the art methods.

Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough knowledge of musicology, composition and pedagogy. It should be noted that each work bears the imprint of a strong originality, as well as a mastery worthy of appreciation. The charm of these works is very special, managing to describe with poetic and suggestive images.

The article analyzes the peculiarities of the reception of Jose Ortega y Gasset’s works in the essays of Oksana Zabuzhko. Emphasis is placed on the commonality of creative origins and ideas of both authors. The intellectual and poetic connections of iconic works are analyzed, particularly “The Revolt of the Masses” and “Notre Dame d’Ukraine. Ukrainian woman in the conflict of mythologies”. The uniqueness of the ideas of the Spanish thinker in the construction of the concept of Ukrainian identity by Oksana Zabuzhko is emphasized. It is concluded that the works of Jose Ortega y Gasset are analyzed and intertwined with the work of Oksana Zabuzhko regarding socio-political and poetic aspects. The format of the mega-essay, common for both authors, chosen for the presentation of their reflections, is objectively analyzed. This format is a harmonious, highly artistic formation in which the content and form are balanced: here, all sections (parts) are logically and consistently connected, placed in a cause-and-effect relationship. Both artists chose the method of “philosophizing in the space of literature”, aestheticized intellectualism, and enriched rational analysis of art and history, which allowed readers to get closer to the essence of Spanish / Ukrainian civilizations.

Постановка задачи. Основная цель исследования состоит в определении оптимальных стратегий перевода/неперевода и/или передачи смыслового содержания эстетических антропонимов и топонимов в романе В. Гюго «Собор Парижской Богоматери» с точки зрения адекватной интерпретации ономастических единиц художественного текста. Результаты. Выявлены базовые тенденции перевода (или неперевода) двух основных групп эстетических имен собственных, антропонимов (32 единицы) и топонимов (105 единиц), включенных в корпус избранных наиболее иллюстративных примеров из художественного текста классического произведения. Путем лингвокультурологического и семантико-стилистического видов анализа определены переводческие процессы, используемые для передачи эстетических антропонимов и топонимов различных категорий: от транслитерации и применения закрепленных в языке перевода эквивалентов имен и названий ( Маргарита Фландрская, Жеан де Труа, Феб ) до семантического перевода (прозвищные имена) и привлечения метатекста (подстрочных комментариев к значениям имен ключевых и значимых персонажей). Выводы. Исследованием специальной выборки эстетических антропонимов (32 единицы) и топонимов (105 единиц) в романе В. Гюго «Собор Парижской Богоматери» подтверждена значимость эстетической антропонимии и топонимии в тексте оригинала и в переводе с точки зрения создания хронотопа, описания места действия, воссоздания национального и исторического колорита, обрисовки социальной среды. Доказано, что имена ключевых персонажей и знаковые убранонимы, которые являются авторской креацией, особым конструктом как на языке оригинала, так и в переводе за счет своего синергического потенциала, обладают концептуальным значением и выходят за рамки художественного дискурса, обретая наднациональный общекультурный статус маркера того или иного эстетического и идейного направления. Statement of the problem. The main objective of the study is to determine the optimal strategies for translating/non-translating and/or transmitting the semantic content of the aesthetic anthroponyms and toponyms in the novel by V. Hugo «Notre Dame de Paris» from the standpoint of an adequate interpretation of the onomastic units in the art text. Results. The basic tendencies of translation (or non-translation) of two main groups of the aesthetic proper names, the anthroponyms (32 units) and the toponyms (105 units) included in the corpus of the selected most illustrative examples from the art text of a classical work are revealed. By means of linguocultural and semantic-and-stylistic types of analysis, the translation processes used to transfer the aesthetic anthroponyms and toponyms of various categories are determined: from transliteration and the use of equivalents for the names and the titles fixed in the translation language ( Margarita of Flanders, Jean de Troyes, Phoebus ) to the semantic translation (for some nicknames) and the involvement of the metatext (subscript comments to the meanings of the names of some key and significant characters). Conclusion. The study of a special sample of the aesthetic anthroponyms (32 units) and toponyms (105 units) in the novel by V. Hugo «Notre Dame de Paris» confirms the high importance of the aesthetic anthroponymy and toponymy in the original text and in the translation in order to create a chronotope, to describe the scene, to create national and historical color, and to describe the social environment. It is proved that the names of the key characters and the iconic ubranonyms, which are the author's creation, and a special construct, both in the original and in translation, due to their synergic potential, have a conceptual meaning and go beyond the artistic discourse, acquiring a supranational general cultural status as a marker of one or another aesthetic and ideological direction.

This paper considers the work of Bostonand Toronto-based architects Edward Stevens and Frederick Lee during a critical period in North American hospital expansion. Without exception, their hospitals represented state-of-the-art planning wrapped in conservative exteriors. The firm's work thus offers a rich case study from which to consider the notion of historicist design as a mechanism for coping with change. This paper focuses on five Stevens-and-Lee projects: Notre Dame Hospital and two additions to the Royal Victoria Hospital in Montreal, the Kingston General Hospital, and the Ottawa Civic Hospital. Their buildings can be considered typical of the period, since Stevens and Lee designed prominent hospitals across North America. An interpretation of the hospitals is further enriched by the prospect of comparing what was built to the architects' own words. Edward Stevens's The American Hospital of the Twentieth Century (1918) is a classic in the field of hospital architecture, and he published extensively in the architectural and medical professional presses. The study of Steven's words and his hospitals illuminates the inherent danger of regarding historicist building types as antimodern or necessarily conventional. It also reveals the paucity of stylistic interpretations of all architecture. This approach has resulted in the widespread misinterpretation of interwar hospitals as reactionary, or at best antimodern. For this reason, hospitals of the 1920s are generally omitted from studies of the building type and are seen, mistakenly, as simple reverberations of the nineteenth-century model. Generic hospital architecture of the interwar years was modern in its spatial attitudes-not necessarily its look, but rather in its structure, its endorsement of aseptic medical practice, its sanctioning of expert knowledge, its appeal to new patrons, its encouragement of new ways of working, its response to urbanization, its use of zoning, its acceptance of modern social structures, its resemblance to other modern building types, its embrace of internationalism, and its endorsement of standardization.

Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19 th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13 th -century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, "The Defeat of Legnica – The Rebirth of Poland. 1241", 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20 th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.

Background. As it is well-known from the statements by O. Messiaen himself in conversations with K. Samuel [10; 7], the French composer had the phenomenon of “colored hearing” associated with the effect of synesthesia. A prerequisite in modern performing art, as in the work of a musicologistresearcher, is the introduction to the worldview of an author-composer. The study of Messiaen’s synesthetic associations helps the interpreter to expand his timbre range in connecting with emotional “immersion” in the essence of the work, and the researcher of his music – to interpret correctly (often – to “decipher”) and convey to the listener the author’s intention. That why consideration of the synesthetic aspect of the works of the French Master appears relevant. The purpose of this study is to reveal some features of the musical-visual ideas of O. Messiaen, the understanding of which is necessary for adequate perception and reproduction of his music. The material of the work is, mainly, the composer’s own statements, on which the generalizations made in the article based, and which the main conductors in the infinite multicolor spiritual world of the French composer are. The studies results. The child impressions, when Olivier together with his parents visited monuments, museums, churches – the Notre-Dame, the SaintChapel, the Chartres Cathedral, the Cathedral in Bourge – became the sources of the sound-color visions of the French genius. Magical colors of the MiddleAges stained glasses left an amazing feeling, an imprint, which did not disappear during his whole life. Stained-glasses as “the light, captured by the human” [7] are the constant awe and the love of O. Messiaen. In childhood, while reading W. Shakespeare, Olivier made stained glass-like scenery using transparent wrappers and packaging materials painted in different colors, then put the decorations to the windows. The sunshine, going through them, was lightening the little boy’s theater like the footlights. Later, the light, as something Divine, will become the main semantic emphasis in the works of the composer. Messiaen puts the color music above the church and religious, the color music, according him, does the same as medieval stained glass: “it brings us blinding admiration .... All sacred art ... should be, first of all, something like a rainbow of sounds and colors” [6]. Like a stained glass window consists of pieces of glass, so music consists of “pieces-cadres”, but, unlike cinematic montage, a stained glass has a mystical nature. From the inside, a stained glass shows one picture of the world, from the outside – another; it is a rosy view of the world and, at the same time, a prism, through which one can see the musical diversity. So, for O. Messiaen, the basis of the foundations is a religion related closely to philosophy; they serve music, and music serves the color music. A musicologist K. Zenkin defines the color music of O. Messiaen as the highest form of sacred music, as “the answer of human to God” [2, p. 171]. Being 11 and having become a student of Paris Conservatory, Olivier for the first time heard the opera by his teacher, Paul Dukas, “Ariadne and Bluebeard”. Messiaen was amazed by the episodes, where the main heroine consistently opens seven doors and finds herself in seven halls, filled with seven different kinds of precious stones; each one was characterized by different tone and timbre. Later, O. Messian continued the searches of his teacher in area of color-sound. About incredible enjoyment by the color the composer says in connection with painter-orphist Robert Delaunay, calling his paintings “colored dreams”. In the pictures of latter, he was most attracted by the principle of simultaneous contrast. The concept of “simultaneous contrast” refers to the phenomenon, in which our eyes, perceiving any color, involuntarily require a different color addition. For example, red requires green, yellow – purple, since these colors are diametrically opposed to each other on the color wheel, etc. If there is no such addition, the eye can simultaneously find (generate) it. As O. Messian had such rare natural quality as synesthesia, while listening to music, in his imagination different colors, corresponding to different sounds, appeared. Borrowing the painting principle of the simultaneous contrast, the composer applied it in his musical works, for example, in chord constructions. Messian’s “colour hearing” was connected not with tones, like to N. Rimsky-Korsakov or A. Skryabin, but with chords. Chords, in understanding of French composer, are the analogues of colors; changing of the chords leads to the changing of the colors and its patterns. The composer is characterized by the “vertical” perception of the sound-color range, but the “chord” factor does not exhaust his color perception, since O. Messiaen operates with the frets, which he calls “systems”. Each system is associated with a specific coloring of sounds. Colors and sounds are arranged for him on the principle of gamma. In the color scheme of O. Messiaen, there is no yellow color, instead of it an orange-golden one is introduced. Especially the composer likes violet or lilac color, belonging to the category of complex, which includes extremely cold blue and extremely warm red. This color has a lot of shades: with the dominance of red-scarlet, with the dominance of blue-hyacinth. In the Middle Ages, in the symbolism of stained glass windows, the first one identified Love to Truth, and the latter – Truth of Love. O. Messian perceived the laws of the universe through the prism of “infinite colors”. For the composer, painting becomes the basis of his artistic method and generates musical images. He felt the colors in the music by the “inner vision”. The subjective vision of sound colors was using by O. Messiaen in the process of creating musical canvases, called, in its turn, to affect the “inner vision” of the listeners.

Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.