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Статті в журналах з теми "Arte greca moderna"
1
Coelho Santos, Marina. "ARTE COMO CONTRAPONTO À TÉCNICA MODERNA EM HEIDEGGER." PÓLEMOS – Revista de Estudantes de Filosofia da Universidade de Brasília 8, no. 15 (July 3, 2019): 106–22. http://dx.doi.org/10.26512/pl.v8i15.23721.
Повний текст джерелаАнотація:
Este artigo pretende analisar de que modo a arte, para Heidegger, mostra-se como uma manifestação do ser contrapontual ao modo de ser da técnica moderna ”“ entendida como a época final da metafísica. Para isso, será necessário analisar a noção grega de techné e como essa noção inicialmente está vinculada tanto ao saber da produção de utensílios quanto ao saber da produção artística. Desse modo, veremos como a techné grega, entendida como um saber, transforma-se, com o predomínio da metafísica, em um fazer, desdobrando-se ao longo da história até a época da técnica moderna. A partir da consumação da metafísica na era da técnica, pretendemos mostrar, focados no ensaio A origem da obra de arte (1936), que a arte, para Heidegger, sendo ao mesmo tempo consanguínea e estranha à técnica moderna, mostra-nos uma relação mais original com o ser e com noções a ele vinculadas, como verdade e origem.
2
Araujo, Andreia Maria Bezerra de. "Paisagem e arte." Paisagem e Ambiente, no. 41 (May 29, 2018): 59–82. http://dx.doi.org/10.11606/issn.2359-5361.v0i41p59-82.
Повний текст джерелаАнотація:
O presente artigo pretende proporcionar uma aproximação ao entendimento da apreensão estética da natureza passando por várias lentes, desde a teoria filosófica grega na antiguidade à concepção da natureza sob o ponto de vista utilitário, da visão moderna, até as intervenções paisagísticas contemporâneas, abordando o tratamento recebido pela paisagem decorrente das ações do ser humano, as quais acompanham a variação de comportamento da sociedade segundo suas ideologias, seus objetivos políticos e econômicos – uma dinâmica que repercute na arte, na arquitetura, bem como na arquitetura paisagística. Para tanto, são discutidos importantes filósofos como Georg Simmel, em seu texto Filosofia da Paisagem, e Joachin Ritter, em Paisagem: Função da Estética na Sociedade Moderna, entre outros autores, fundamentais para o entendimento do surgimento da noção da paisagem. Através de uma abordagem estética, da percepção sensorial, procura-se apresentar a função da arte como instância resgatadora da paisagem, da natureza perdida na memória do ser humano.
3
Cavalcanti, Anna Hartmann. "Música e experiência estética em Nietzsche." Pensando - Revista de Filosofia 8, no. 16 (March 4, 2018): 3. http://dx.doi.org/10.26694/pensando.v8i16.5198.
Повний текст джерелаАнотація:
Em 1869, ano de início de sua atividade como professor na Universidade da Basiléia, Nietzsche desenvolve em inúmeros cursos e conferências uma reflexão sobre a experiência musical e poética, na qual enfatiza a união da palavra e da música na sensibilidade grega e sua separação na sensibilidade moderna. Esse tema será retomado nos anos seguintes, durante a redação de O nascimento da tragédia, seja na reflexão sobre a arte grega, seja na crítica à ópera moderna, dando lugar a uma investigação sobre a diferença de natureza entre os domínios sonoro e linguístico, aos quais correspondem formas distintas de experimentar a arte. Pretendo, neste trabalho, mostrar como a rede de relações tecida por Nietzsche entre música e palavra permite elucidar não apenas a especificidade da música como arte, mas também a singularidade da experiência estética que ela torna possível.
4
Silva, Arlenice Almeida da. "O Interessante em Friedrich Schlegel." Trans/Form/Ação 34, spe2 (2011): 75–94. http://dx.doi.org/10.1590/s0101-31732011000400006.
Повний текст джерелаАнотація:
Busca-se neste artigo, em primeiro lugar, examinar a originalidade do conceito de interessante na obra Sobre o estudo da poesia antiga, do jovem Friedrich Schlegel, tendo em vista a singularidade da análise e do método empregados pelo autor para fundamentar a crítica de arte. Em segundo lugar, o texto procura ressaltar como, ao diferenciar a poesia grega da moderna, Schlegel constitui uma singular interpretação da poesia em geral, em diálogo aberto com Winckelmann e Schiller. E, finalmente, avaliar se, ao articular um discurso que aproxima história da arte e filosofia da arte, Schlegel logra superar definitivamente a "querela entre antigos e modernos".
5
Turfa, Jean MacIntosh, and Alwin G. Steinmayer. "The comparative structure of Greek and Etruscan monumental buildings." Papers of the British School at Rome 64 (November 1996): 1–39. http://dx.doi.org/10.1017/s0068246200010333.
Повний текст джерелаАнотація:
LA STRUTTURA COMPARATIVA DEGLI EDIFICI MONUMENTALI GRECI ED ETRUSCHISe esaminati da un punto di vista ingegneristico, gli edifici monumentali greci presentano sostanziali differenze con quelli di origini etrusco/italica. La tecnica greca comprendeva l'uso di imponend architravi in pietra atti a resistere al carico imposto lateralmente dai pesand tetti in tegole di terracotta. Gli Etruschi risolsero lo stesso problema grazie all'uso di travi su cui veniva scaricata la tensione. L'uso di travi di tensione in Italia rese possible la copertura a tetto di strutture con campate molto ampie (senza colonne interne) e con ampi aggetti, stabilendo così la caratteristica configurazione del tempio toscano. Calcoli basati sulle misure dei tempi greci ed etrusco/italici hanno evidenziato come la trave di tensione toscana fosse più efficiente rispetto alle tecniche greche dell'epoca. Gli architetti greci, in virtù dell'abbondanza di utile materiale da costruzione e di lavoro stagionale, non erano forse stimolati allo sviluppo di nuove tecniche, o forse non riuscirono mai a risolvere il problema delle giunture di tensione.In contrasto con i metodi moderni, che fanno uso intensivo del metallo, gli antichi ingegneri etruschi erano costretti ad usare giunture di collegamento in legno nelle strutture di legno del tetto, al fine di porre una resistenza al carico laterale dei tetti in tegole. Questa pratica potrebbe già essere stata introdotta nell'VII secolo a.C., quando le tegole di terracotta furono introdotte nelle città etrusche. Tale tecnica è attestata dalle campate di grandi edifici quali l'edificio sudest di Murlo (c. 630–600 a.C), il tempio Portonaccio a Veii ed il tempio A di Pyrgi, e viene data per scontata per il Capitolium a Roma (dedicate nel 509 a.C). Le travi di tensione continuarono ad essere usate per vari secoli, rendendo possibile la costruzione delle basiliche romane della media e tarda repubblica, nonché i tipi successivi.
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Arjones Fernández, Aurora. "Ruskin, John: Viaggio in Italia (Edición a cargo de Attilio Brilli)." Boletín de Arte, no. 25 (April 2, 2018): 899–901. http://dx.doi.org/10.24310/bolarte.2004.v0i25.4659.
Повний текст джерелаАнотація:
Viaggio in Italia. Viaje a Italia, y, ciertamente cabría un sentido retórico: Viaje por Italia. Viaje a Italia es una expresión que en el acervo de la historiografía moderna ha adquirido una dimensión casi conceptual, es más, está plenamente reconocido como tema horizontal de la Historiadel Arte, así el viaje a Italia de El Greco, Juan Fernández Navarrete "El Mudo", José de Ribera, Velázquez...
7
Castrillón Castrillón, Andrés Alfredo. "Arte, religión y filosofía en Hegel y Hölderlin." Perseitas 7, no. 2 (June 21, 2019): 321–39. http://dx.doi.org/10.21501/23461780.3294.
Повний текст джерелаАнотація:
El artículo tiene como propósito dilucidar las nociones de arte, religión y filosofía que expone el filósofo Hegel en su obra Enciclopedia de las ciencias filosóficas y en las Lecciones sobre la estética y la que expone el escritor Friedrich Hölderlin en su novela Hiperión o el eremita en Grecia. La finalidad del escrito es contrastar ambas posturas y analizar la interpretación que hace Hegel del arte. Ambos autores conciben dicha triada como una manifestación y exteriorización de la producción y devenir espiritual de los pueblos. Hölderlin le otorga al arte una vigencia y vitalidad para intervenir en la construcción de la sociedad moderna a nivel religioso y político, pero Hegel considera que la filosofía, que supera y conserva al arte y a la religión, tiene la prioridad en la modernidad en tanto posibilita la comprensión y el progreso del momento vigente. El texto concluye indicando las diferencias entre estas dos posturas.
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Faustino, Sílvia. "O Conceito de Imitação no Jovem Friedrich Schlegel." Trans/Form/Ação 39, spe (2016): 23–36. http://dx.doi.org/10.1590/s0101-31732016000500003.
Повний текст джерелаАнотація:
RESUMO: Tomando por base o ensaio Über das Studium der griechschen Poesie (Sobre o estudo da poesia grega), este trabalho tem por objetivo investigar o conceito de imitação no pensamento do jovem Friedrich Schlegel. Além de explicitar dois usos distintos do conceito - que aparece ora como imitação do real, ora como imitação dos antigos - pretende-se identificar oscilações e tensões terminológicas que possam esclarecer a postura filosófica do autor, frente à profunda crise de legitimidade, que, naquela época, atinge a concepção da arte como imitação da natureza. É intenção mostrar que, embora reconheça os aspectos negativos que a má aplicação do modelo clássico provoca na produção e na teoria da arte moderna, Schlegel também propõe um sentido positivo, à luz do qual a imitação pode ser harmonizada com os princípios filosóficos basilares de uma estética idealista de feição kantiana.
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STAVILĂ, Tudor. "Referring to one exhibition." Arta 31, no. 1 (September 2022): 65–76. http://dx.doi.org/10.52603/arta.2022.31-1.09.
Повний текст джерелаАнотація:
The National Art Museum of Moldova constantly surprises with vernissages and original themes, regardless of whether it refers to personal or group exhibitions, to regional or international activities. The presence of the exhibition “Five couples”, which was opened this year, on May of 17 and it confirmed the actuality of some events, which have became a tradition and an evolution of the performances of that institution. The moment refers to painters and their works, which were active in various cultural spaces of modern Russia and interwar Bessarabia, from the Romanian Kingdom before the Second World War and the period of the emergence of the Moldavian SSR, following a not simple artistic way, in completely diverse and incompatible environments. Their creation demonstrated the existence of two value systems: one was of European formation; another was of Russian production, both were belonging to the opposite visions. Mihail Grecu and Lidia Arionescu, Mihail Grecu and Fira Grecu, Moisei and Eugenia Gamburd, Valentina Rusu-Ciobanu and Glebus Sainciuc, Ana Baranovici and Dmitrii Sevastianov were honored at the exhibition.
10
Silva Júnior, Clécio Luiz. "Eticidade e Moralidade na tragédia:." Revista Limiar 4, no. 7 (March 24, 2019): 59–76. http://dx.doi.org/10.34024/limiar.2017.v4.9213.
Повний текст джерелаАнотація:
O objetivo deste artigo é demonstrar que a tragédia guarda fortes relações com conteúdos metafísicos exteriores, o que a torna algo mais relevante do que mera representação teatral. Propomos, neste trabalho, uma aproximação entre a perspectiva de Schiller acerca da arte trágica, tomando-a como elemento de expressão e promoção da moralidade na sociedade política, e a perspectiva de Hegel sobre a tragédia grega. Abordamos, com Hegel, o progresso da tragédia enquanto forma da poesia dramática que expõe, para a antiguidade grega, conteúdos universais (eticidade) e, posteriormente, no mundo moderno, mostramos como a perda desses conteúdos, a perda da eticidade compromete a eficácia da tragédia como representação desses conteúdos. Ao mesmo tempo, procuramos demonstrar que o fracasso da tragédia, que se torna meramente Trauerspiel, i.e., apenas representação teatral, incita, em paralelo, a passagem de uma perspectiva poética da tragédia para uma filosofia do trágico.
Дисертації з теми "Arte greca moderna"
1
TOLA, FABRIZIO. "Parole e immagini nella ritualità della Settimana Santa in Sardegna. Fonti scritte e sculture lignee nella pratica rituale dell’epoca moderna." Doctoral thesis, Università degli Studi di Cagliari, 2016. http://hdl.handle.net/11584/266742.
Повний текст джерелаАнотація:
The thesis intends to demonstrate how in the seventeenth and eighteenth century Sardinia it
was fundamental for the Church to use the preached word and meditative text along with the
devotional image. These are the same tools for control and indoctrination for the faithful. This
particular phenomenon, even more marked in the modern age, is realized in Sardinia
especially in the rites of Holy Week still celebrated today, the function of the "Deposition"
and devotion to the Mysteries of the Passion, reconstructing the origin and development of
these rites. It outlines the historical and social context of Sardinia in the XVII-XVIII Century.
Emphasizing the devotional and religious aspect in particular towards the Passion of Christ.
Including once the religious importance of the event in the Sardinian society of the time and
of Easter is understood, as the central moment of the liturgical year, we analyze the function
that the sacred image had in the rites practiced in the island, which had greater importance
because it was supported by the preached word. Then some homiletic and meditative texts of
the seventeenth century are examined, within this perspective. Finally, the historical and
artistic side is deepened by critical study of some wooden sculptures, used in these rituals,
which is published unedited, incorporating them into specific areas of production and proving
once again how modern era Sardinia was a cultural and artistic crossroads and trading center.
2
Checchi, Guido <1983>. "Roma 1572: la "fiammata mistica" di Anthonie Blocklandt, El Greco e Giovanni de' Vecchi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8206/1/Checchi_Guido_tesi.pdf.
Повний текст джерелаАнотація:
Nel libro Pittura e Controriforma: l’arte senza tempo di Scipione da Gaeta, edito nel 1957, Federico Zeri affronta, tra i primi in Italia, la questione delle immagini nella crisi religiosa del XVI secolo causata dalla Riforma.
A quel processo di semplificazione formale dell’arte sacra secondo i precetti tridentini, si accompagna anche un’inquieta e fremente vena mistica in alcuni artisti, espressione di una spiritualità più complessa.
Zeri sottolinea che questa tendenza nasce con Giovanni de’ Vecchi (1543-1615), El Greco (1541-1614) e l’olandese Anthonie Blocklandt van Montfoort (1533 ca-1583). Il loro probabile incontro nel 1572 a Roma alla corte del cardinal Alessandro Farnese avrebbe acceso la “fiamma suprema del misticismo pittorico del cinquecento”. I tre pittori dimostrano di avere in comune assonanze stilistiche, nonostante la diversa provenienza e formazione. Il più maturo Blocklandt potrebbe aver contribuito al visionario linguaggio di El Greco toledano. Questa complessa ipotesi non è mai stata verificata approfonditamente anche se nel corso degli anni vi sono stati numerosi contributi alle figure di questi tre artisti, contributi sempre però apportati separatamente l’uno dall’altro, dove la questione della relazione fra i tre è stata solo sfiorata.
La ricerca ha attraversato gli studi sui tre diversi artisti con gli aggiornamenti dell’ultimo sessantennio, insieme ad un approfondimento del contesto storico e religioso attorno al 1572, e ad un‘analisi delle opere attorno al 1570-1575 di Blocklandt, El Greco e de’Vecchi.In Pittura e Controriforma: l’arte senza tempo di Scipione da Gaeta, edited in 1957, Federico Zeri is among the first in Italy to discuss the question of images in the religious crisis caused by the Reformation in the XVI century. Above the process of formal simplification and touching pietism, another trend appears made of dramatic and trembling mystic traits of some artists, symptom of more complex spirituality. Zeri highlights how this tendency born with Giovanni de’ Vecchi (1543-1615), El Greco (1541-1614) and the Dutch Anthonie Blocklandt van Montfoort (1533 ca-1583). The “fiamma suprema del misticismo pittorico del cinquecento”, the mystic blaze, was lit up in 1572 by the encounter of three painters in Rome at the court of cardinal Alessandro Farnese. These artists unexpectedly show stylistic assonances, despite their different background and training. The elder and mature Blocklandt might have helped the visionary language of El Greco’s Spanish period. This complex hypothesis has never been thoroughly verified, even though, along the years, the studies about three artists have given many contributions. But, they were made separately from each other, where the question of the relationship among the three was only touched lightly. The research has gone through studies on the three different artists with updates over the last sixty years, jointly with a deepening of the historical and religious context around 1572, and an analysis of paintings around 1570-1575 made by Blockland, El Greco and de’Vecchi.
3
Kosmadaki, Polyxeni. "Antiquité et art grec contemporain dans la deuxième moitié du vingtième siècle." Paris 4, 2003. http://www.theses.fr/2003PA040071.
Повний текст джерелаАнотація:
La présente thèse étudie l'influence de l'Antiquité sur l'art grec contemporain de la deuxième moitié du XXe siècle : ce processus d'échange prend une ampleur considérable dans un pays constamment en quête d'identité nationale. Elle est dirigée vers la résolution de quatre questions : comment se forme le processus de l'échange ? Comment se manifeste-t-il dans une société particulière ? Quelle est son étiologie ? Quels sont ses rapports avec la pensée, l'histoire et le droit ? Cette analyse se développe en deux temps. Premièrement, une étude sérielle de la nature de l'échange, au travers d'exemples, et, deuxièmement, l'étiologie et le bilan raisonné du phénomène ; dans le premier cas, il s'agit de définir un phénomène artistique général et, dans le deuxième, de l'interpréter et de l'expliquer pour une situation historique précise. La première partie comprend, ainsi, la déconstruction analytique des ouvrages et le regroupement des processus en cause, tandis que la deuxième envisage toutes les explications possibles de l'échange et dresse le bilan raisonné du phénomène artistique dans la situation historique concernéeThe present thesis studies the influence of Antiquity on contemporary Greek art (2nd half of the 20th century), an "exchange" process of great importance in a country such as Greece, in constant search of its identity. This thesis is directed towards the solution of four particular problems: the development of an exchange process between two cultures; its place in a particular society; its association with thought, history, rules and ethics; its etiology. To resolve these problems I have established an analytical model of exchange phenomena which studies the processes involved and I have explored the emergence of this phenomenon in a precise historical situation. The analysis evolves in two parts: first, a serial study of the nature of the exchange and, second, its causes and the results of its evaluation. The first part includes the analytical deconstruction of the works and the grouping of the processes involved, whereas, the second part, considers all their plausible explanations ; it sets up the historical interpretation of the phenomenon and its quantitative repartition
4
Loumanis, Sophie. "Acquisition du grec moderne et de l'espagnol en Expression Libre chez des jeunes adultes en contexte scolaire." Paris 5, 2004. http://www.theses.fr/2004PA05H021.
Повний текст джерелаАнотація:
L'Expression Libre est une approche pédagogique alternative, communicative au sens propredu terme. Elle a été découverte empiriquement sur le terrain, il y a à peu près quarante ans. Approuvée en France par le Ministère de l'Education Nationale, elle fut diffusée par l'Inspection Générale d'Espagnol dans des collèges et des lycées de l'ouest et du sud-ouest de le France. Une théorisation fut entamée a posteriori, et c'est dans cette lignée que le présent travail s'inscrit. Nous examinons le statut didactique de cette approche sur les plans historique et théorique ; mais surtout sur le plan pédagogique. Nous effectuons une analyse des discours des apprenants en salle de classe, (discours que nous avons enregistrés et transcrits, afin de constituer notre double corpus, - espagnol et grec). "Expression Libre" signifie expression orale libre en langue étrangère, (la découverte de la lecture et de la pratique de l'écrit ne commençant qu'à la fin de la première année). En effet, dès la première heure, l'élève est encouragé à s'exprimer dans la langue maternelle, à propos de l'un des divers documents qui lui sont proposés, et qui en principe sont issus de la civilisation étrangère. La traduction en langue cible proposée par le professeur, ou, progressivement, par un camarade du locuteur, et aussitôt reprise par l'élève. Le rôle du professeur est appelé à diminuer de plus en plus au fur et à mesure que les apprenants font des progrès en langue étrangèreFree Expression is an alternative pedagogical approach, communicative by definition. It was empirically discovered on the field some forty years ago. Approved in France by the Ministry of National Education, it was subsequently implemented by the General Inspection for Spanish in junior high schools and high schools in the West and South-West of France. Theorization was initiated, at tis posteriori phase, and it is in this framework that the present doctoral thesis has been carried out. We are thus examining the methodological status of this approach at a historical and theoretical level ; but more particularly, at a pedagogical level, by carring out a discourse analysis of what students ay and produce in the language classroom, (discourse that we taped and transcribed, in order to constitute our double Spanish and Greek corpus). "Free Expression" more specifically means oral free expression, (the discovery of reading and writing skills actually starting at the end of the first year). In effect, from the very beginning students are encouraged to produce their own speech, responding to the various documents proposed to them (which are mainly selected from target-language civilization). Individual speech in this case, as based on the description and/or analysis of the proposed documents (eg. Objects, paintings, etc. ) is initially uttered in native language code. Translation of these utterances is put forth by the teacher,-or a classmate, whenever possible-, and the learner thus repeats his statement in the target language. The teacher's role is to progressively diminish, insofar as the learner makes progress in this acquisition of the targest language
5
Delgado, Duatis Diego. "The Hellenic World of Henry Miller and Lawrence Durrell." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/385980.
Повний текст джерелаАнотація:
Aquesta tesi doctoral estudia les produccions literàries de dos escriptors interconnectats, Henry Miller i Lawrence Durrell, tot posant especial atenció a les seves obres sobre el món grec, i la influència de la cultura hel•lènica sobre ambdós autors a través d’alguns escriptors grecs moderns. La meva tesi demostra que el contacte dels esmentats autors amb el món hel•lènic i amb determinats escriptors grecs de la primera meitat del segle vint va influenciar als primers considerablement, impregnant moltes de les seves obres. El terme “hel•lènic”, en la tesi, s’utilitza en el sentit que li dóna Kavafis, entenent la cultura grega com un continu. És a dir, l’herència cultural del poble grec com a grup que comparteix la llengua grega i un conjunt de valors.
Aquesta connexió es manifesta en tres àrees principals de confluència entre Durrell i Miller i els autors grecs que s’aborden: l’assimilació que els primers en fan de les produccions d’aquests autors grecs, les estretes afinitats intel•lectuals i estètiques entre tots ells, i la influència decisiva del país que els va aplegar.
Miller i Durrell van jugar un paper realment molt important en la difusió internacional d’alguns escriptors grecs moderns que encara no ha estat suficientment estudiat. Les seves relacions personals i literàries amb certs membres de la “Generació grega dels anys 30” marcaren una empremta en les seves obres i el seu discurs. Conseqüentment, aquesta tesi doctoral també explora l’àmplia correspondència entre Durrell i Miller i alhora, el seu intercanvi epistolar amb alguns d’aquests intel•lectuals grecs. Aquest darrer aspecte ha comportat realizar recerca en diversos arxius que compten amb col•leccions relacionades amb Durrell, Miller, Seferis i Sikelianos. Aquesta tasca ha permès l’estudi d’una extensa compilació de documents inèdits.Esta tesis analiza las producciones literarias de dos escritores interconectados, Henry Miller y Lawrence Durrell, poniendo una atención especial en sus obras sobre el mundo griego, y la influencia que la cultura helénica tuvo sobre ambos autores a través de algunos escritores griegos modernos. Mi tesis demuestra que el contacto de Miller y Durrell con el Mundo Helénico y con determinados escritores griegos de la primera mitad del siglo veinte les influyó considerablemente e impregnó muchas de sus obras. El término ‘Helénico’ se utiliza aquí en el sentido que le da Kavafis, entendiéndose la cultura griega como un continuo. Es decir, la herencia cultural del pueblo griego como grupo que comparte la lengua griega y un conjunto de valores. Esta conexión se manifiesta en tres áreas principales de confluencia entre Durrell y Miller y los autores griegos que se abordan: la asimilación que los primeros hacen de las producciones de estos últimos, las estrechas afinidades intelectuales y estéticas entre todos ellos, y la influencia decisiva del país que los reunió. Miller y Durrell jugaron un papel realmente muy importante en la difusión internacional de algunos escritores griegos modernos que todavía no ha sido suficientemente estudiado. Sus relaciones personales y literarias con ciertos miembros de la “Generación griega de los años 30” marcaron una huella en sus obras y en su discurso. Consecuentemente, esta tesis doctoral también explora la amplia correspondencia entre Durrell y Miller y al mismo tiempo, su intercambio epistolar con algunos de estos intelectuales griegos. Este último aspecto ha comportado realizar investigación en distintos archivos que cuentan con colecciones relacionadas con Durrell, Miller, Seferis y Sikelianos. Esta tarea ha permitido el estudio de una extensa compilación de documentos inéditos.
This dissertation analyzes the literary productions of two interconnected writers, Henry Miller and Lawrence Durrell, while paying special attention to their works on the Greek world, and the influence that the Hellenic culture had on both authors through some modern Greek writers. This thesis demonstrates that Miller’s and Durrell’s contact with the Hellenic World and with certain Greek writers of the first half of the twentieth century strongly influenced them and permeated many of their works. Here, the term ‘Hellenic’ is employed as used by Cavafy, meaning the Greek culture as a continuum. That is to say, the cultural heritage of the Greek people as a group sharing the Greek language and a common set of values. This connection is found in three main areas of confluence among Durrell and Miller and the Greek authors that are here studied: the formers’ assimilation of the latter’s productions, the close intellectual and aesthetic affinities among all of them, and the decisive influence of the country that brought them together. Miller and Durrell played indeed an important role in spreading the knowledge of some modern Greek writers at an international level which still had not been sufficiently studied. Their personal and literary relationships with some of the members of the Greek “Generation of the 30s” pervaded their productions and philosophical discourses. Consequently, this dissertation also examines Durrell’s and Miller’s long mutual correspondence and their exchange of letters with some of these Greek intellectuals. This last aspect has involved working in several archives with collections related to Durrell, Miller, Seferis, and Sikelianos, which has resulted in the study of an extensive compilation of unpublished documents.
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Bohmann, Katja Junqueira. "O sentido da música em F. Nietzsche." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/5580.
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O sentido da música em Friedrich Nietzsche é um dos principais temas da produção intelectual do jovem filósofo, professor de filologia e compositor musical. A existência humana no mundo é investigada a partir da origem da arte trágica na Grécia antiga em relação com a arte trágica na modernidade do contexto de Nietzsche. A inovação do pensamento nietzschiano consiste na retomada da interpretação filológica acerca dos registros sobre os poetas do teatro grego antigo e de Sócrates, relacionando com a filosofia e a arte musical. Para uma compreensão ampliada da vida grega e da vida moderna, Nietzsche assume a revisão da filosofia de Arthur Schopenhauer e a esperança no renascimento da arte trágica através do músico e compositor Richard Wagner. O fundamento do conhecimento moderno é deslocado e posto em movimento através do princípio da arte trágica grega no jogo entre Apolo e Dionísio. A música dionisíaca é trazida à consciência e pensada na conjunção com a música apolínea, a música da arte trágica é explicada como fundamento da compreensão da existência humana no mundo.
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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.
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From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.
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Ceccagno, Douglas. "Mito e absurdo no moderno drama franc?s e em Nelson Rodrigues." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2012. http://tede2.pucrs.br/tede2/handle/tede/2043.
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Previous issue date: 2012-01-26This thesis aims at investigating, in its first part, how new meanings are produced through the use of Greek myths in the French drama between wars and during World War II, when France was under German occupation. The research focuses on the mythical plays of Jean Giraudoux, Jean Cocteau, Jean Anouilh and Jean-Paul Sartre, in which this dissertation analyzes the tensions between the feeling of absurdity, representative of the time of the two Great Wars and systematized by Albert Camus in The Myth of Sisyphus (1942), and the possibilities of Greek mythology to produce new meanings in a society where myths are reframed, other than those conveyed by the ancient literature, especially the Attic tragedy. Another aim is to propose a mythical interpretation, under the same perspective, to the four plays of the Brazilian writer Nelson Rodrigues written between 1945 and 1949. The comparison reveals differences of meaning in the reframed myths. Although they are written in the same period of time, the plays reflect societies with different historical backgrounds. The first chapter of the thesis discusses relevant concepts for analysis, as myth, tragic and absurd, as well as notions derived from the theory of imaginary. The second chapter, reserved to the study of French plays, examines historical and cultural transformations occurred in France in the 1930s and 1940s, and presents the analysis of the plays written by Giraudoux, Cocteau, Anouilh, and Sartre in the same period, with subjects taken from Greek mythology. The third chapter is devoted to Brazilian history and culture in the same decades, with special emphasis on the Brazilian theater of the period, and the role played by Nelson Rodrigues in this cultural context; and, in individual sections, the four mythical plays of this author are analyzed under the perspective of the reframing of Greek myths. Finally, the conclusion provides a comparison between the plays analyzed and the senses conveyed by the French and the Brazilian mythical drama at the same historical moment. This research is based on the theory of imaginary. Its main references are Gilbert Durand and Gaston Bachelard s writings, with the support, in a transdisciplinary perspective, of the researches on mythology done by Mircea Eliade and Joseph Campbell, and sources from historiography, philosophy and theatrical studies.
O presente trabalho tem o objetivo de investigar, num primeiro momento, como se produzem novos sentidos atrav?s da utiliza??o dos mitos gregos no drama franc?s da ?poca entreguerras e do per?odo em que a Fran?a esteve sob a Ocupa??o alem? devido aos acontecimentos da Segunda Guerra Mundial. O objeto de pesquisa s?o as pe?as m?ticas de Jean Giraudoux, Jean Cocteau, Jean Anouilh e Jean-Paul Sartre, nas quais este trabalho analisa as tens?es entre o sentimento do absurdo, representativo da ?poca das duas Grandes Guerras e sistematizado por Albert Camus em O mito de S?sifo, de 1942, e as possibilidades de a mitologia grega conferir novos sentidos para a sociedade em que os mitos s?o ressignificados, diferentes daqueles veiculados pela literatura antiga, especialmente pela trag?dia ?tica. Em seguida, procede-se uma interpreta??o das quatro pe?as m?ticas do escritor brasileiro Nelson Rodrigues, escritas entre 1945 e 1949, a partir das mesmas perspectivas, levando ? constata??o das diferen?as de sentido promovidas pelas ressignifica??es dos mitos em uma mesma ?poca, em sociedades com experi?ncias hist?ricas diferentes. A tese ? iniciada pela discuss?o de conceitos relevantes para a an?lise, como mito, tr?gico e absurdo, al?m de no??es oriundas da teoria do imagin?rio. O cap?tulo seguinte, reservado ao estudo das pe?as francesas, ? constitu?do por algumas p?ginas introdut?rias dedicadas ?s transforma??es hist?ricas e culturais da Fran?a entre as d?cadas de 1930 e 1940 e pela an?lise das pe?as com temas da mitologia grega escritas por Giraudoux, Cocteau, Anouilh e Sartre no mesmo per?odo. Outro cap?tulo ? destinado ? hist?ria e ? cultura brasileira nos mesmos dec?nios, com especial ?nfase ao teatro brasileiro do per?odo e ao papel desempenhado por Nelson Rodrigues nesse contexto cultural, al?m de, em se??es individuais, analisarem-se as quatro pe?as m?ticas do autor sob o vi?s da ressignifica??o dos mitos gregos. Ao final, a conclus?o estabelece um comparativo entre as pe?as analisadas e os sentidos veiculados pelo drama m?tico franc?s e pelo brasileiro da mesma ?poca. Esta pesquisa ? embasada na teoria do imagin?rio, tendo como principais refer?ncias os escritos de Gilbert Durand e Gaston Bachelard e, como apoio, numa perspectiva transdisciplinar, as pesquisas sobre mitologia empreendidas por Mircea Eliade e Joseph Campbell, al?m de fontes oriundas da historiografia, da filosofia e dos estudos teatrais.
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Sphini, Alexandra. "Langue et mentalités au Phanar (XVIIe-XVIIIe siècles) : d'après les "Ephémérides" de P. Codrica et d'autres textes du milieu phanariote." Paris 1, 1991. http://www.theses.fr/1991PA010632.
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L'objet de ce travail est l'étude de la langue et de la mentalité des élites grecques du phanat pendant les XVII-XVIIIe siècles et surtout pendant les lumières grecques. L'étude s'appuie principalement sur le journal de P. Cordrica, qui constitue l'œuvre d'un homme éclairé du milieu phanariote et un échantillon de la langue grecque courante, contenant en plus plusieurs informations sur la vie quotidienne des années 1787-1797. L'analyse du journal a été effectuée à base des index lexicaux fournis par le traitement mécanographique du texte et a été complétée par la comparaison des données du journal avec d'autres sources du milieu, telles que journaux et correspondances, textes administratifs et littéraires. L'analyse linguistique montra qu'il s'agit d'un type de langue archaïque influencée par la langue ecclésiastique, possédant un vocabulaire riche et composé de tous les niveaux de la langue grecque et de plusieurs emprunts et néologismes étrangers (turcs et européens). L'analyse de contenu révéla aussi le mélange de la vision archaïque du monde avec les nouvelles conceptions des lumières : l'idéologie de la monarchie et les idées républicaines, les valeurs de la noblesse et de la bourgeoisie coexistent dans le journal et esquissent la mentalité d'un type d'homme de la période de débyzantinisation et d'occidentalisation de l'empire ottoman, qui oscille entre la tradition et la nouveautéThe subject of the present research is the analysis of the language and mentality of the greek elite living in the phanar during the 17th and 18th centuries, especially during the greek enlightenment. The study is based first of all upon the diary of P. Cordrica, an enlightened man living in the phanariotic environment. This diary is a good example of colloquial greel, but it also give us interesting information about the daily life between 1787 and 1797. The analysis of the diary was realised on the basis of work lists elaborated by computer and completed by comparing these with other phanariotic sources, i. E. Diaries, correspondences, administrative and literary texts. The linguistic analysis shows a type of archaic language with ecclesiastical influence and a rich vocabulary formed by all levels of the greek language and many foreign words (turkish and european). The analysis of contents also demonstrates the mixing of an archaic world vision with the new ideas of the enlightenment: the ideology of monarchy of monarchy and republic. The standards of nobility and citizens coexist in the diary and reflect a mentality being typical for the period of occidentalisation of the ottoman empire, fluctuating between tradition and innovation
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Poulou, Angeliki. "La mise en scène de la tragédie grecque dans l’ère numérique." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA157.
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Il s’agit de l’emploi de la technologie numérique dans la mise en scène de la tragédie grecque antique, en d’autres termes, de la réception de la tragédie grecque au sein du théâtre digital. En tant que performance digitale la tragédie grecque semble fonctionner comme un kaléidoscope du temps ; tout à la fois comme une lentille ou un miroir écrasé, où se développent un jeu, un « aller-retour » entre les identités et les qualités : spectateur / citoyen, politique / religieux, espace-temps du mythe / temps actuel, présence / absence. Grâce à l’emploi de la technologie et d’équivalents digitaux, les artistes reconceptualisent une série de notions de la tragédie telles que la communauté, la cité, l’hybris, le masque, le conflit, le tragique, et ils proposent des expériences sensorielles équivalentes au spectateur contemporain : les médias numériques deviennent un équivalent de la parole. Oikos, le palais royal, lieu devant lequel et au sein duquel se déroulent la plupart des événements et conflits, est remplacé par l’écran palimpseste ; on est dans l’image dans laquelle on vit désormais, c’est au sein de l’écran que l’on produit l’Histoire. La convention du masque conduit à l’expérimentation avec des technologies sonores. La fonction politique de la tragédie grecque et la création de l’effet de communauté, se produisent désormais par le biais de la technologie numérique. Les spectateurs forment des communautés éphémères lors de leurs réunions dans l’environnement technologique, la fragmentation rhizomatique de la scène « cache » la communauté, pour la transformer en une communauté virtuelle. Enfin, c’est le tragique qui se développe sur scène en tant qu’idée et phénomène performatifThe thesis focuses on the use of digital technology in the staging of Greek Tragedy that is, the reception of Greek tragedy in the digital theatre. Greek tragedy, when digitally staged, seems to function as a kaleidoscope of our times; sometimes a lens and at others a shattered mirror, where a game, a "toing and froing" between identities and qualities exists: spectator/citizen, political/religious, time-space of myth/actual current time, presence/absence. With the use of technology and of digital equivalents, artists re-conceptualize a series of key notions such as the community, the city, the hubris, the mask, the conflict, the tragic and create equivalent effects for the contemporary spectator: Digital media becomes the equivalent of discourse. The “oikos”, the royal palace, in front of and within which most events and conflicts occur, is replaced by the screen-palimpsest: it is within the image that we live, we clash, we make history. The mask convention leads to experimentation with sound technologies. The much-discussed political function of tragedy in the context of democratic Athens and the building of a sense of community is now realised through digital technology. Spectators form ephemeral communities in their meeting within the technological environment, the rhizomatic fragmentation of the theatre stage, "hides" the community to transform it into a virtual community. In the end, it is the tragic that is being developed as an idea and a performative phenomenon
Στο επίκεντρο βρίσκεται η χρήση της ψηφιακής τεχνολογίας στη σκηνοθεσία της αρχαίας ελληνικής τραγωδίας, δηλαδή η πρόσληψη της αρχαίας ελληνικής τραγωδίας στο ψηφιακό θέατρο. H αρχαία ελληνική τραγωδία ως ψηφιακή παράσταση, μοιάζει να λειτουργεί ως καλειδοσκόπιο του καιρού∙ άλλοτε ως φακός και κάποιες φορές ως θρυμματισμένος καθρέπτης, όπου ένα παιχνίδι, ένα «πήγαινε-έλα» αναπτύσσεται ανάμεσα στις ταυτότητες και τις ποιότητες : θεατής/πολίτης, πολιτικό/θρησκευτικό, ο χωροχρόνος του μύθου/ο πραγματικός τρέχων χρόνος, παρουσία/απουσία. Με τη χρήση της τεχνολογίας και των ψηφιακών ισοδυνάμων, οι καλλιτέχνες επανοηματοδοτούν στο παρόν μια σειρά κομβικών εννοιών για την τραγωδία, όπως η κοινότητα, η πόλις, η ύβρις, η μάσκα, η σύγκρουση, το τραγικό και δημιουργούν ισοδύναμες αισθήσεις και εντυπώσεις στον σύγχρονο θεατή: Τα ψηφιακά μέσα γίνονται ισοδύναμο του λόγου. Ο οίκος, το βασιλικό ανάκτορο μπροστά και εντός του οποίου συντελούνται τα περισσότερα γεγονότα και οι συγκρούσεις, αντικαθίσταται από την οθόνη παλίμψηστο: μέσα στην εικόνα ζούμε, συγκρουόμαστε, παράγουμε ιστορία. Η σύμβαση της μάσκας οδηγεί στον πειραματισμό με τις τεχνολογίες του ήχου. Η πολυσυζητημένη πολιτική λειτουργία της τραγωδίας στο πλαίσιο της δημοκρατικής Αθήνας και η δημιουργία του αισθήματος κοινότητας δημιουργείται πλέον μέσα από την ψηφιακή τεχνολογία. Oι θεατές σχηματίζουν εφήμερες κοινότητες στη συνάντησή τους μέσα στο τεχνολογικό περιβάλλον, η ριζωματική θραυσματοποίηση της θεατρικής σκηνής, «κρύβει» την κοινότητα, για να τη μετατρέψει σε εικονική κοινότητα. Τέλος, είναι το τραγικό που αναπτύσσεται ως ιδέα και ως επιτελεστικό φαινόμενο
Книги з теми "Arte greca moderna"
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1541?-1614, Greco, Museo Nacional de Escultura (Valladolid, Spain), and Real Academia de Bellas Artes de San Fernando, eds. Entre el cielo y la tierra: Doce miradas al Greco cuatrocientos años después. Madrid, Spain]: Gobierno de España, Ministerio de Educación, Cultura y Deporte, 2014.
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2
Beat, Wismer, ed. El Greco bis Mondrian: Bilder aus einer Schweizer Privatsammlung. Köln: Wienand, 1996.
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3
El Greco and his patrons: Three major projects. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
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4
Hippika: Corse di cavalli di carri in Grecia, Etruria e Roma ; le radici classiche della moderna competizione sportiva. Roma: [s.l.], 2011.
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Hippika: Corse di cavalli e di carri in Grecia, Etruria e Roma : le radici classiche della moderna competizione sportiva. Hildesheim: Weidmann, 2011.
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6
From El Greco to Goya: Painting in Spain, 1561-1828. New York: H.N. Abrams, 1997.
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7
Webster, T. B. L. Greek art and literature, 700-530 BC: The beginnings of modern civilization. Westport, Conn: Greenwood Press, 1986.
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8
Université de Paris IV: Paris-Sorbonne, ed. Silence et sagesse: De la musique à la métaphysique, les anciens Grecs et leur héritage. Paris: Classiques Garnier, 2014.
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9
Böttiger-Lektüren: Die Antike als Schlüssel zur Moderne ; mit Karl August Böttigers antiquarisch-erotischen Papieren im Anhang. Berlin: Akademie Verlag, 2012.
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Sii︠a︡nieto na Vizantii︠a︡: Ukraseni grŭt︠s︡ki rŭkopisi ot Balkanite (VI - XVIII v.) : katalog za izlozhba, XXII Mezhdunaroden kongres za Vizantiĭski izsledvanii︠a︡, Sofii︠a︡, 22 - 27 avgust 2011 g. = Le rayonnement de Byzance : les manuscrits grecs enluminés des Balkans (VIe - XVIIIe siècles) : catalogue d'exposition, XXIIe Congrès Internationales d'Études Byzantines, Sofia, 22 - 27 août 2011. Sofii︠a︡: Nat︠s︡ionalna galerii︠a︡ za chuzhdestranno izkustvo, 2011.
Знайти повний текст джерелаЧастини книг з теми "Arte greca moderna"
1
Zografidou, Zosi. "Magris e la Grecia." In Biblioteca di Studi di Filologia Moderna, 151–58. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.16.
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Claudio Magris is deeply interested in the classics and Greek culture. The current essay focuses on Magris and Greece through employing two different approaches. On the one hand, it highlights Magris’ interest in Greek culture, art and literature. In his works, Magris reflects on the diachronic presence of classical heroes, such as Ulysses or Antigone, within the broader field of world literature. On the other, this essay aims to analysing the reception of Magris’ translations in Greece, including the literary criticism of his works.
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"Prototypal Images Reaffirmed in Early Modern Painting." In The Pictorial Art of El Greco, 25–98. Amsterdam University Press, 2018. http://dx.doi.org/10.2307/j.ctvckq2bw.6.
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"1. Prototypal Images Reaffirmed in Early Modern Painting." In The Pictorial Art of El Greco, 25–98. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048541416-004.
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Goodey, C. F., and M. Lynn Rose. "Disability History and Greco-Roman Antiquity." In The Oxford Handbook of Disability History, 41–54. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190234959.013.0003.
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Abstract To obtain a historical perspective on disability, we need to know what questions people of the past asked about each other and thus how they grouped human types. This effort involves removing the carapace of modern forms of classification and avoiding their imposition on the primary sources of an era so distant from our own (“retrospective diagnosis”). At least three major forms are identifiable: (1) the post-Cartesian divide between mind and body; (2) the tightening of forms of human categorization in general since the late Middle Ages; and (3) the thoroughly modern divide between the scientific/medical and the social. Human disparities and putative disabilities, ranging widely from the ancient era to the start of the Middle Ages and including the body, the senses, cognition, speech, social behavior, and sexual make-up, are discussed. These may or may not correspond with modern categorizations.
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Mickūnaitė, Giedrė. "Introduction; or an eye in the debris." In Maniera Greca in Europe’s Catholic East. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789462982666_intro.
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The Church Councils of Constance, Basel, Ferrara-Florence and Trent, the fall of Constantinople and the victory of Lepanto are the events that constitute the pan-European political framework of this inquiry concerned with notions and functions of ‘Greek’ image in Lithuania and Poland. The review of the understanding and treatment of Greek manner in scholarship highlights consistent implications of difference and retrospect. The choice of an intertextual approach to establish patterns of the vernacularization and alienation of images is substantiated through the discussion of available primary evidence, comparative materials from Southern and Eastern Europe as well as art historical literature. The overview of confessional polemics emphasizes division between Greek people and Greek images in the eyes of early modern Catholics.
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Crouch, Dora P. "Central Greco-Roman Cities." In Geology and Settlement. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195083248.003.0010.
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Argos, situated in the southern peninsula of Greece called the Peloponnese, lies on the northwest side of the Argos Plain, backed by hills to the north and west that are the eastern edge of an extensive region of mountains and intermountain basins. A road runs northward through the valley and over the hills to Nemea and Corinth. Eastward beyond the capricious rivers lie the old Mycenaean cities of Mycenae and Tiryns on their knolls, with the port of Nauplia closing the circuit to the southeast. Beyond Nauplia is the Argolid peninsula with the ancient pilgrimage and health center of Epidauros. (The term “Argolid” as used in the literature sometimes means all the area near Argos and sometimes means only the peninsula south and east of Nauplia. Herein, we will use Argolid for the latter and Argive Plain for the former.) Between Argos and the gulf about 6 km south is the marshy area of Lerna, remnant of a lake that once reached nearly to the outskirts of Argos, while the southeast part of the plain was until recently a series of lagoons (Piérart 1992). To the southwest, skirting the mountains, runs the road to Sparta. The advantages for Argos of being situated at the center of gravity in the triangular plain (Runnels 1995) continued throughout all the periods studied herein. Argos is unusual among ancient cities because we have ample modern geological investigations of regional structure, morphology, karst geology, and hydrogeology, literary evidence from antiquity, and archaeological data from decades of investigation. These materials contribute to a detailed understanding of how human settlement built on and responded to local resources. We will therefore describe the regional setting of the city before turning to an examination of the urban core. Below its mountains, the city of Argos stands on a shelf overlooking a plain of extensive fertile agricultural land that curves around the site from north to southwest. The stratigraphy is as follows, beginning with the topmost modern layers: . . . Higher plateau and mountains are Tripoli limestone. Tripoli plateau sits amid karstic mountains. (Older) Triassic and Jurassic limestones to the northeast. . . .
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Ng, Su Fang. "Greco-Arabic Mirrors for Barbarian Princes." In Alexander the Great from Britain to Southeast Asia, 149–78. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198777687.003.0005.
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This chapter focuses on Alexander the Great as an exemplary figure in English and Malay mirrors for princes, deriving from medieval Arabic sources. In particular, it considers Kitāb Sirr al-asrār, known in Latin as Secretum secretorum (Secret of Secrets), believed to be Aristotle’s advice to Alexander. It is a major influence on the early modern Malay Nasihat al-Muluk (Advice for Kings). The chapter considers how the mirrors see foreign others as a source of wisdom by reading Naṣīḥat al-mulūk (“Advice for princes”), Taj us-Salatin (Crown of Kings) and Dicts and Sayings of the Philosophers. It also examines Malay adaptation of two themes from Secretum—women’s authority and the art of physiognomy—and how they engaged with shared topoi, which it argues address similar concerns about interactions with foreigners.
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Arciszewska, Barbara. "The role of ancient remains in the Sarmatian culture of early modern Poland." In Local antiquities, local identities, 286–304. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0014.
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Visible material remnants of ancient cultures were, for a variety of historical reasons, not particularly abundant in the territories of the Polish-Lithuanian Commonwealth (1569-1795). The past monuments of these lands were not hewn in stone and marble but in timber, leaving behind no impressive structures to provoke the interest of subsequent generations. The dearth of material evidence did not, however, prevent generations of Polish historians and antiquarians from assigning Greco-Roman identities to local monuments. They were keen to offer tangible proof of the past glory of the land inhabited by the alleged descendants of the Sarmatians. In this paper, some of these monuments are explored, especially the Mounds of Krakus and Wanda near Cracow as well as an alleged tomb of Ovid in Vohlyna. The narratives fabricated around them as a part of the ideology of Sarmatism, a class discourse, which constructed an identity for the Polish nobility as the descendants of the ancient tribe of Sarmatians, are also examined.
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BONSI, DAVIDE. "The Acoustic Analysis of Palladio’s Teatro Olimpico, Vicenza." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0017.
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In the history of theatre buildings, the Teatro Olimpico in Vicenza by Andrea Palladio is often regarded as the archetype of the evolution of spaces for drama and music in modern European culture. Even within the specific subject of architectural acoustics, the Olympic Theatre represents a sort of symbolic beginning of a new era, since the main idea which led to its realisation, that is, the transformation of the Greco-Roman theatre into a closed volume, started to pose problems that had previously been unknown or neglected due to the completely different sound-propagation processes experienced in the open-air theatres of antiquity. This chapter focuses on the recent campaign of acoustic measurements carried out by the author in the Teatro Olimpico. Among the results discussed are the long reverberation time and low clarity, which make the hall more suitable for music than speech.
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Jillions, John A. "Divine Guidance." In Divine Guidance, 255–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055738.003.0015.
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This chapter compares and contrasts the approaches to divine guidance in the Greco-Roman, Jewish, and early Christian worlds of Paul’s Corinth and their relevance for the present. Their debates about healthy and unhealthy religious life and rational thought remain remarkably contemporary. The chapter considers modern religious experience, both positive and negative, including a seminal event in the life of Martin Luther King. The Religious Experience Research Centre, based at the University of Wales, has collected over 6,000 accounts. The Centre interviewed at length two Eastern Orthodox scholars (Kallistos Ware and Lev Gillet) for their views on discerning the value of such experiences. They are wary of delusion and independently conclude that claims to divine guidance ought to be evaluated by what results they produce. But they and others hope that rational and mystical experience can be held together for the full flourishing of human life.