Bibliografie tematiche / Gothic revival

Letteratura scientifica selezionata sul tema "Gothic revival"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 5 marzo 2023

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Articoli di riviste sul tema "Gothic revival"

1

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

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2

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

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

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

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

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Abstract (sommario):
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.
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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.

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

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

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

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

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Tesi sul tema "Gothic revival"

1

Albo, Frank. "Freemasonry and the nineteenth-century British Gothic Revival". Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283920.

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Tennant, Colette. "Margaret Atwood's transformed and transforming Gothic /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723997751.

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Shlyak, Tatyana. "Secret as a key to narration : evolution from English Gothic to the Gothic in Dostoyevsky /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6667.

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Davison, Carol Margaret. "Gothic Cabala : the anti-semitic spectropoetics of British Gothic literature". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34941.

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Abstract (sommario):
The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.
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Powell, Christabel Jane. "The liturgical vision of Augustus Welby Northmore Pugin". Thesis, Durham University, 2002. http://etheses.dur.ac.uk/3761/.

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The aim of this thesis is to argue that Augustus Welby Northmore Pugin (1812-1852) was a liturgist who had a liturgical vision. He is commonly regarded as an architect and designer per se, but many believe he had eccentric ideas, was a fanatic for the Gothic style of architecture and that while he was religious, he had little impact on the religious controversy and events of his time. The thesis will bring forward a different picture of him. The reasons put forward to support the claim that he was a liturgist are that he had a particularly definition of liturgy; he studied liturgy for three years; he employed a particular method of writing, which was commonly used by past liturgists; many of his authorities were liturgists and historians, as well as architects and designers, and his sources related to liturgy. Pugin went from attacking Protestants, to defending his views against Roman Catholics. To argue for his views, Pugin employed a particular methodology, which included a vast number of authorities and sources. He offered to England an alternative setting of the Roman rite. The new converts who had seceded from the Church of England to the Church of Rome, including John Henry Newman and his circle, did not support him and this led to a major conflict. Their different views of liturgy became a matter of judgement for the Roman Catholic Church. Pugin was influenced by Continental, particularly French, Roman Catholic scholars and liturgists. The influence of the leader of the liberal Catholics in France, Charles-Forbes-Rene, Count de Montalembert, is also brought to light. The thesis will argue that Pugin sought to implement his views on liturgy in England and had a vision of a future England that could act as an example to the rest of Catholic Christendom, including the Church of Rome. He initially had a measure of success, but finally failed and bowed to the judgement of the Roman Catholic Church.
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Frost, Amy. "The search for a national style : Sir William Chambers and the 'Gothicness' of Milton Abbey, Dorset". Thesis, University of Bath, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275412.

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Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.

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Bradley, Simon. "The Gothic Revival and the Church of England 1790-1840". Thesis, Courtauld Institute of Art (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363044.

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Andrews, Elizabeth. "Devouring the Gothic : food and the Gothic body". Thesis, University of Stirling, 2008. http://hdl.handle.net/1893/375.

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At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.
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Goss, Theodora Esther. "The monster in the mirror: late Victorian Gothic and anthropology". Thesis, Boston University, 2012. https://hdl.handle.net/2144/31561.

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Thesis (Ph.D.)--Boston University
The end of the nineteenth century witnessed a Gothic literary revival, which included the publication of Sheridan Le Fanu's Carmilla ( 1872), Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde ( 1886), Oscar Wilde's The Picture of Dorian Gray (1891), H.G. Wells' The Island of Doctor Moreau (1896), and Bram Stoker's Dracula (1897) within a twenty-five year period. The dissertation interprets such late nineteenth-century Gothic texts in light of the rise of Victorian anthropology and an anthropological paradigm based on Darwinian evolutionary theory. Before the 1860s, the study of human beings had been dominated by the discipline of ethnology; however, the ethnological paradigm, based on a Biblical understanding of human history, began to fracture with the discovery of prehistoric human remains at Brixham Cave (1858) and the publication of Darwin's On the Origin of Species (1859). Those events brought the Biblical framework into question and created a sense of cultural trauma reflected in both scientific and popular debates on the origins of humanity. The anthropological paradigm, articulated in the writings of anthropologists such as Sir John Lubbock, Edward Burnett Tylor, and James Ferguson McLennan, managed the traumatic implications of Darwinian evolutionary theory by creating a hierarchical ladder of biological and cultural evolution that affirmed the primacy of human over animal, and civilized over savage. It also, by implication, supported the colonial enterprise by placing the European at the top of that ladder. Late nineteenth-century Gothic fiction posed a fundamental challenge to the optimistic progressionism of the anthropological paradigm and the hierarchical oppositions on which it was based by implying that Englishmen and women were not as different from the animal or savage as they believed, and that evolution itself was not always upward. By doing so, it re-traumatized what the anthropological paradigm attempted to contain, and pointed toward a more diverse and egalitarian definition of the human. The Gothic has often been seen as a conservative genre: the dissertation argues that understanding the ways in which late nineteenth-century Gothic fiction challenged the anthropological paradigm can reveal its disruptive, iconoclastic potential.
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Libri sul tema "Gothic revival"

1

Gothic revival. London: Booth-Clibborn Editions, 1994.

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2

Aldrich, Megan Brewster. Gothic revival. London: Phaidon Press, 1994.

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3

Massey, James C. Gothic revival. New York: Abbeville Press, 1994.

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4

Brooks, Chris. The Gothic revival. London [England]: Phaidon Press, 1999.

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5

Townshend, Dale, a cura di. The Gothic World. New York, USA: Routledge, 2013.

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6

1939-, McCarthy Michael J., e O'Neill Karina, a cura di. Studies in the gothic revival. Dublin, Ireland: Four Courts, 2008.

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7

1939-, McCarthy Michael J., e O'Neill Karina, a cura di. Studies in the Gothic Revival. Dublin, Ireland: Four Courts, 2008.

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8

Fisher, M. Staffordshire and the Gothic Revival. Ashbourne: Landmark, 2006.

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9

1939-, McCarthy Michael J., e O'Neill Karina, a cura di. Studies in the gothic revival. Dublin, Ireland: Four Courts, 2008.

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10

1717-1797, Walpole Horace, a cura di. Four gothic novels. Oxford: Oxford University Press, 1994.

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Capitoli di libri sul tema "Gothic revival"

1

Worland, Rick. "The Gothic Revival (1957-1974)". In A Companion to the Horror Film, 273–91. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch16.

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Cottle, Basil. "The Eighteenth Century: Gothic Revival English". In The Language of Literature, 69–77. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17989-3_10.

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Aldana Reyes, Xavier. "The Post-Millennial Horror Revival: Auteurs, Gothic (Dis)Continuities and National History". In Spanish Gothic, 209–29. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-30601-2_9.

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Piehler, J., M. Hansen e G. Kapphahn. "Experimental investigation of Gothic revival vault structures". In Insights and Innovations in Structural Engineering, Mechanics and Computation, 1948–53. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2016. http://dx.doi.org/10.1201/9781315641645-322.

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Tyack, Geoffrey. "C. L. Eastlake, History of the Gothic Revival". In British Architecture 1760–1914, 125–28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003111177-18.

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Mead, Jenna. "Medievalism and Memory Work: Archer’s Folly and the Gothic Revival Pile". In Medievalism and the Gothic in Australian Culture, 99–118. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.mmages-eb.4.000027.

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Siddall, Ruth. "Medieval Mortars and the Gothic Revival: The Cosmati Pavement at Westminster Abbey". In Historic Mortars, 79–89. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91606-4_6.

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Janes, Dominic. "Early Victorian Moral Anxiety and the Queer Legacy of the Eighteenth-Century Gothic Revival". In Material Religion in Modern Britain, 125–43. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137540638_7.

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Groom, Nick. "Gothic and Celtic Revivals". In A Companion to British Literature, 361–79. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch74.

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Cochran, Julie Lawrence. "The Gothic Revival in France, 1830–1845: Victor Hugo’s Notre-Dame de Paris, Popular Imagery, and a National Patrimony Discovered". In Memory & Oblivion, 393–99. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_45.

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Atti di convegni sul tema "Gothic revival"

1

Bieg, Kory. "Caret 6 and the Digital Revival of Gothic Vaults". In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.199.

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Bieg, Kory. "Caret 6 and the Digital Revival of Gothic Vaults". In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.199.

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