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Статті в журналах з теми "Classicismo romano"
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Lepri, Nicoletta. "Per una traduzione italiana delle Medidas del romano di Diego de Sagredo (1526)." Translationes 6, no. 1 (January 1, 2014): 65–77. http://dx.doi.org/10.1515/tran-2015-0005.
Повний текст джерелаАнотація:
Abstract Le Medidas del romano, ‗Misure dell'edificio romano‘, sono un manuale per riprodurre proporzioni, ordini, modanature degli edifici antichi: il primo trattato architettonico scritto e pubblicato fuori d'Italia, nel 1526, da Diego de Sagredo (Burgos, 1490-Toledo, 1528 ca.). Basate sul Vitruvio latino di Giocondo da Verona, sulla volgarizzazione del Ciseriano, sul De re aedificatoria di Alberti, propongono il classicismo rinascimentale italiano come risorsa decorativa, non concettuale. Fra tante traduzioni, nessuna comparve in Italia, dove si rifuggí tale atteggiamento culturale, presto generalizzato in Europa, reintrodotto di fatto in Italia dagli artisti stranieri e valutabile oggi come effettivo fenomeno storico di ―globalizzazione.
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Kapp, Volker. "Baroque et classicisme dans la philologie romane de langue allemande." Dix-septième siècle 254, no. 1 (2012): 109. http://dx.doi.org/10.3917/dss.121.0109.
Повний текст джерела
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Becq, Annie. "Les arts poétiques en France au XVIIIe siècle." Études littéraires 22, no. 3 (April 12, 2005): 45–55. http://dx.doi.org/10.7202/500912ar.
Повний текст джерелаАнотація:
L'auteur définit les positions fondamentales de l'esthétique de Boileau comme «ouverture» et négation du système normatif (néoaristotélicien). L'incompréhension de cette esthétique et sa confusion avec une poétique normative à la La Harpe aboutirait à une diffamation du Stendhal «classiciste» et à une appréciation erronée de sa production de (fragments de) tragédies, comédies, épopées, considérée comme «ratée», et de sa production de «romans» et «contes» comme libération de la contrainte de l'esthétique classique. Or, Stendhal ne cessera jamais d'adhérer à l'esthétique innovatrice de Boileau, qui, unie à l'esthétique shakespearienne-cervantine, aboutit à la production de «textes fleuves» auxquels on a donné le nom de romans.
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Schultz, Celia E. "Roman Sacrifice, Inside and Out." Journal of Roman Studies 106 (June 8, 2016): 58–76. http://dx.doi.org/10.1017/s0075435816000319.
Повний текст джерелаАнотація:
ABSTRACTThe ‘insider-outsider problem’ has had little impact on the study of religion in pre-Christian Rome. Classicists generally assume that the modern idea of sacrifice as the ritual killing of an animal applies to the Roman context. This study argues, however, that the apparent continuity is illusory in some important ways and that we have lost sight of some fine distinctions that the Romans made among the rituals they performed.Sacrificiumincluded vegetal and inedible offerings, and it was not the only Roman ritual that had living victims. Romansacrificiumis both less and more than the typical etic notion of sacrifice.
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Davis, Peggy. "La quête de primitivisme ou le doute envers la civilisation." Études littéraires 37, no. 3 (January 31, 2007): 117–44. http://dx.doi.org/10.7202/014107ar.
Повний текст джерелаАнотація:
Résumé Les Incas de Marmontel (1777) et Atala de Chateaubriand (1801) ont suscité dès leur parution une abondante imagerie. L’examen thématique d’une sélection d’estampes inspirées de ces deux romans révèle la construction d’un discours primitiviste sur la rencontre de l’Européen avec l’indigène américain. Au plan idéologique, les récits et les images soutiennent la critique de la mission civilisatrice et évangélisatrice, tandis que sur le plan esthétique, ils traduisent la crise du classicisme et son renouvellement thématique. Le corpus graphique inspiré des Incas et d’Atala se répartit en trois catégories d’images : les illustrations de livres, les suites narratives d’estampes et les estampes d’interprétation des tableaux exposés au Salon. Le rapport entre image et textualité, variable selon ces catégories, révèle une autonomie croissante de l’image par rapport au texte.
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Williams, Craig A. "Greek love at Rome." Classical Quarterly 45, no. 2 (December 1995): 517–39. http://dx.doi.org/10.1017/s0009838800043597.
Повний текст джерелаАнотація:
It has long been a commonly held belief among classicists that traditional Romans frowned upon male homosexuality and associated it with the influence of Greek culture. There have always been exceptions to this belief, but when Paul Veyne published the following remarks in his 1978 article ‘La famille et l'amour sous le hautempire romain’, his views were quite heterodox:Il est faux que l'amour ‘grec’ soit, à Rome, d'origine grecque: comme plus d'une société méditerranéenne de nos jours encore, Rome n'a jamais opposé l'amour des femmes à celui des garçons: elle a opposé l'activité à la passivité; être actif, c'est être un mâle, quel que soit le sexe du partenaire passif.
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Tognarelli, Chiara. "Sopravvivenze eroi(comi)che: l'edizione Vigo dei "Paralipomeni della Batracomiomachia" di Leopardi." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 3, no. 2 (December 31, 2022): 237–65. http://dx.doi.org/10.54103/2724-3346/19521.
Повний текст джерелаАнотація:
Nel 1869 Giuseppe Chiarini cura i Paralipomeni della Batracomiomachia per le edizioni di Francesco Vigo. Il libro costituisce un caso editoriale che consente di riflettere sulla ricezione del poemetto leopardiano e, più in generale, sulla perdurante vitalità del genere eroico ed eroicomico nella seconda metà dell’Ottocento: negli anni in cui il romanzo guadagna un ruolo egemonico nel sistema letterario italiano, un sodalizio di stampo classicista e ascendenza giordaniana – quello che lega Francesco Ambrosoli, Antonio Gussalli e Giuseppe Chiarini – difende l’epos, anche nella sua declinazione comico-satirica, quale forma illustre e perennemente attuale. Una battaglia ardua, come avrebbe poi messo in luce la critica di fine Novecento.
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Donoso, Isaac. "«Cabayong tabla: estudi i traducció d'un romanç filipí del regne de València (II)»." Revista de Literatura Medieval 29 (December 21, 2018): 13–40. http://dx.doi.org/10.37536/rpm.2017.29.0.69405.
Повний текст джерелаАнотація:
Resumen: Introducció a la conformació del romacer de tradició hispànica a les illes Filipines i la presència del Regne de València com espai literari en una literatura asiàtica. Al treball acompanya la descripció i traducció directa des del bicolà al valencià d’un dels principals romanços filipins que tracten del Regne de Valencia: Cabayong Tabla. Buhay ni Principe don Juan Asin ni Princesa Dña. Maria Sa Cahadean nin Valencia asin Asturias –«Cavall de Taula»–, text per primera vegada traduït a qualsevol llengua. Així mateix, analitzem les fonts i descrivim la història argumental i la presència de València al Romancer filipí con a treball comparatista que puga donar llum a la formalització del classicisme en les Lletres Filipines des de la literatura medieval de tradició hispànica.Palabras clave: Romancer hispànic, awit i corrido, Filipines, Regne de València, literatura hispànica, bicolà.Abstract: The paper introduces the development of the Philippine metrical romances from the Hispanic tradition and the presence of the Kingdom of Valencia as Asian literary topic. It is supplied with the first translation ever done from the original Bicolano into Catalan of one of the most relevant romances dealing with the Valencian topic: Cabayong Tabla. Buhay ni Principe don Juan Asin ni Princesa Dña. Maria Sa Cahadean nin Valencia asin Asturias –«Wooden Horse». We analyse the sources and the plot of the romance in order to compare and enlight the genesis of Philippine Classical Literature with the Medieval Hispanic Romancero.Keywords: Hispanic Romancero, Philippine Metrical Romances, awit and corridor, Philippines, Kingdom of Valencia, Bicolano.
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Goldhill, Simon, and Helen Morales. "Introduction." Ramus 36, no. 1 (2007): 1–5. http://dx.doi.org/10.1017/s0048671x00000758.
Повний текст джерелаАнотація:
Josephus, cultural critic and chronicler of the Jewish revolt against Rome (66-73/4 CE), is one of the most polemical and compelling writers of the Roman Empire. He writes in Greek, as a Jewish leader of a revolt against Rome, who came over to the Romans. His extraordinary prose combines an extended self-justification, an explanation of Jewish culture to the Romans, through the medium of a culturally privileged Greek, and the riveting story of a failed rebellion against the dominant Empire of the Mediterranean, written now as an awkward insider of the corridors of power, recalling his own opposition to that power. Josephus, that is, writes on and through the boundaries of culture; if all history is written by victors, he writes as a defeated leader now with the triumphant new emperor: he crosses the boundary between victor and victim, insider and outsider. For the scholar interested in post-colonial writing, in cultural identity, in the rhetoric of self-fashioning, Josephus is a remarkable gift. What is more, the history he tells has powerful resonances today in the Middle East: it is he who gives us the authoritative account of Masada, the rocky desert fortress destroyed by the Romans and now a central icon of the state of Israel. The destruction of the Temple is a founding moment in the Jewish imagination, still rehearsed in ritual and political rhetoric. What more could one want from an ancient source? In 2003, Mary Beard invited us to imagine the euphoric reception classicists would give his work were it to be newly discovered today:This is the kind of text that ancient historians and literary critics would die for. It is the kind of text that makes the study of Greco-Roman antiquity so much richer than that of almost any other ancient society. The kind of text we just can't get enough of.
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Sanfelice, Pérola de Paula. "Homoerotismo e performances: as representações dos corpos e das relações humanas na antiguidade romana a partir das pinturas de Pompeia." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 2, no. 2 (March 23, 2018): 298–331. http://dx.doi.org/10.31669/herodoto.v2i2.282.
Повний текст джерелаАнотація:
Os estudos da antiguidade, dentre as disciplinas acadêmicas, são aqueles considerados como o mais conservador, no entanto, por meio da interdisciplinaridade, sobretudo a partir do diálogo com a Arqueologia, esta área de conhecimento tem conseguido alcançar perspectivas mais críticas, sobretudo, em pesquisas sobre o amor e a sexualidade. Nesse trabalho, dialogo, em grande parte, com as pesquisas produzidas pelo classicista Pedro Paulo Funari, que, por sua vez, inspirou diversos pesquisadores brasileiros a romper com os modelos normativos, questionando antigos conceitos e valores patriarcais a fim de trazer à tona uma antiguidade clássica mais libertária. Deste modo, apresento algumas discussões a respeito da sexualidade e do gênero na Antiguidade romana, incialmente, um debate de natureza teórica, e, num segundo momento trago algumas pinturas de relações eróticas com práticas diversificadas, com ênfase particular às relações homoeróticas, encontradas em uma terma suburbana do sítio arqueológico de Pompeia, a fim de evidenciar as diferentes maneiras que os indivíduos interpelavam as normas, bem como questionar as noções de pornográfico e trabalhar as relações das imagens com os seus contextos.
Дисертації з теми "Classicismo romano"
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Racault, Jean-Michel. "L'utopie narrative en france et angleterre de l'age classique aux lumieres (1675-1761). Etude de forme et de signification." Paris 4, 1987. http://www.theses.fr/1987PA040254.
Повний текст джерелаАнотація:
Souvent envisagee dans une perspective etroitement historique ou sociologique, l'utopie narrative classique est egalement justiciable d'une analyse purement litteraire. Sans qu'on puisse pour autant la couper du "mode utopique" et de ses diverses manifestations, l'utopie doit etre concue d'abord comme un genre litteraire, d'ailleurs difficile a cerner car etranger a la conscience collective du temps et plus ou moins confondu avec une nebuleuse de genres connexes constituant ses limites externes : robinsonnades, voyages imaginaires, etc. A l'interieur du domaine ainsi circonscrit, on peut toutefois retracer la genese de l'utopie narrative classique avec ses modeles canoniques et ses formes annexes, notamment celles ou le conflit entre l'aspiration utopique a la raison parfaite et les donnees de la nature humaine conduit a la contestation de l'utopie elle-meme. Il convient egalement d'accorder une attention particuliere aux "micro-utopies" du roman des lumieres, ou vient se prolonger et se renouveler une forme vite figee. Enfin, l'enquete permet de mettre en evidence la correlation existant entre le choix de certaines techniques narratives et la signification de la construction utopiqueClassical narrative utopias have been generally investigated from a sociological or historical point of view, but a purely literary perspective is equally relevant. Although it cannot be set apart from the "utopian mode" and its various embodiments, utopia must be conceived primarily as a literary genre. Its delimitation is not obvious, due to its absence as an acknowledged category in the literary conscience of the age and its close connexion with an outer fringe of other related forms such as imaginary voyages and desert island novels. Within our field thus circumscribed, it is however possible to trace back the genesis of classical utopia along with its canonical forms and subsidiary models, amongst which specifically those where the conflict between utopian yearning for perfect reason and human nature leads to a denial of utopia itself. Special attention should also be granted to the "micro-utopias" of the enlightenment novel, representing an extension and renewal of a form incapable of evolution. The enquiry, at last, underlines the correlation between the choice of narrative techniques and the meaning of the utopian construction
2
Dubois, Elsa. "Le personnage gidien : la (ré)conciliation du roman et du mythe." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040173.
Повний текст джерелаАнотація:
Gide est aujourd’hui assez peu étudié en France, notamment dans le cycle secondaire, comme si la pensée du « contemporain capital » était devenue ésotérique, voire obsolète. Notre thèse entend montrer la nécessité de lire Gide : déjouant l’enfermement nombriliste majoritairement à l’œuvre dans le XX° siècle finissant et au XXI° siècle commençant, où le Je complaisamment s’observe et de facto empêche l’autre de se dire, notre auteur restaure un âge d’or dans une époque problématique. Inquiéteur certainement, mais dans un but conciliateur, sans aucun doute, Gide parvient à réconcilier le mythe et le roman. Notre thèse montre tout d’abord combien certains mythes, qui obsèdent l’auteur au point d’en devenir personnels, se conjuguent selon la forme romanesque, qu’il lui faut repenser afin d’en déjouer les conventions, les artifices, les écueils. Ainsi, le Je que l’on voit sans cesse à l’œuvre chez Gide se trouve sollicité par cette double motivation personnelle et mythique, donc universelle. En réponse à cette motivation, Gide crée un Je multiforme, protéen, qui parvient à échapper à l’individualité, à la clôture de la définition, ferment de toute séparation. Par les choix narratifs et les options prises dans l’énonciation, par la médiation de ce Je, Gide fonde l’accord du personnage non seulement avec les autres protagonistes, mais aussi avec la diégèse, et surtout avec le lecteur. Persona du théâtre antique et du mythe, sans être pour autant figure imposée et transcendante, le personnage gidien s’oppose à l’individu mythifié et autocentré – qui consacre le désaccord avec le monde pour le plus grand dommage du lecteur – et instaure le mythe humaniste de la personneNowadays, Gide is not much studied in France in secondary education, as if the « essential contemporary’s » thought had become esoteric or even obsolete. Our thesis intends to point out the necessity of reading Gide : by thwarting the self-absorbtion present in the late 20th and in the early 21st century, when the I is being complacently observed, and thus prevents the other from talking, our author re-establishes a golden age in a problematical period. While certainly being very anxious to trouble his reader – though a conciliatory purpose –, Gide manages to reconcile myth and novel. Our thesis shows first of all how some myths, that haunt the author so much so that they become personal, merge with is the form of the novel, which he has to reconsider in order to evade its conventions, its tricks and its pitfalls. So, the “I” we see constantly in Gide’s work is spurred by this twofold personal and mythical motivation – and therefore universal –.Urged by this motivation, Gide creates a many-sided protean “I”, that manages to elude individuality and the closure of definition which is the ferment of separation. Through his narrative choices and his options taken of enunciation, and through the mediation of this “I”, Gide creates harmony between the character, the other protagonists, the diegesis and above all with the reader. Like the persona of the ancient theatre and of the myth – but far from being an imposed, transcendent figure – the character in Gide’s work can be opposed to the mythified, narcissistic individual – which sanctions the disagreement with the outside world which is so detrimental to the reader – and creates the humanist myth of the “person”
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Marnieri, Maria Teresa. "Critical and iconographic reinterpretations of three early gothic novels. Classical, medieval, and renaissance influences in William Beckford’s Vathek, Ann Radcliffe’s romance of the forest and Matthew G. Lewis’s the Monk." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399574.
Повний текст джерелаАнотація:
El propósito de esta disertación doctoral es lo de investigar y comprender de
mejor manera las influencias múltiples que, juntas al desarrollo y a la divulgación de
la traducción literaria (puestas de relieve por Stuart Gillespie y David Hopkins),
tuvieron un papel importante en el ascenso de las primeras novelas góticas al final del
siglo dieciocho. Considerando que este trabajo está profundamente influenciado e
inspirado por la crítica literaria reconocida a nivel internacional sobre la literatura
gótica, esta investigación evita asumir perspectivas criticas típicas del siglo veinte y del
periodo actual. Procediendo atrás en el tiempo, examina los autores, su ambiente
cultural, sus conocimientos y sus puntos de vista que pertenecen al siglo dieciocho. El
enfoque se concentra sobre las primeras manifestaciones del género gótico en las
décadas inmediatamente sucesivas a la novedad introducida por Horace Walpole con
su novela fantástica El Castillo de Otranto en 1764. El periodo fin de siècle limitado
(1786-1796) de los primeros trabajos góticos que se explora en esta tesis es
inversamente proporcional al ancho nivel de creatividad e invención de sus autores.
Esta disertación tiene como objetivo lo de demonstrar que la omnipresencia y la
reiteración de temas y argumentos clásicos, medievales y renacentistas fueron
elegidos y adaptados a sus historias conscientemente por William Beckford (Vathek,
1786), Ann Radcliffe (El Romance de la Selva, 1791), y Matthew G. Lewis (El Monje,
1796), cuyas novelas representan un sincretismo único y original de ideas e influencias
literarias, culturales e iconográficas que los tres autores absorbieron de sus
contemporáneos así como de los escritores y poetas del pasado. Las tres novelas
analizadas en esta tesis fueron escritas antes, durante y después de la revolución
francesa que ha sido frecuentemente considerada como un punto de referencia y el
origen de la literatura gótica. Una de las ideas detrás de esta disertación es la intención
de demonstrar que las conexiones con la revolución en Francia son una convención
crítica a quo, que generalmente no toma en consideración peculiaridades del gótico
literario que existían antes de los acontecimientos revolucionarios. Otros aspectos
importantes incluidos en esta investigación son la función de las arquitecturas, los
paisajes y las iconografías de las novelas. La disertación está dividida en cinco partes.
La primera introduce los argumentos and la razón de ser a la base de esta investigación
junto a la motivación de organizar un estudio sobre el gótico que recibe mucha
atención crítica. El cuerpo central es formado por tres capítulos. Cada uno contiene un
análisis de una novela diferente y pone en evidencia su relación con autores como
Lucrecio, Virgilio, Ovidio, Dante, Boccaccio, Shakespeare, y otros. El quinto capítulo
incluye la conclusión y las hipótesis de investigaciones futuras que pueden
desarrollarse de este estudio. Una particularidad de la bibliografía es que presenta una
variedad de textos y traducciones que eran conocidos por los autores examinados en
esta disertación. El idioma de los novelistas góticos reflejaba inevitablemente los
estilos de los autores del pasado. Un anexo iconográfico al final de la disertación
presenta una galería de pinturas e imágenes que muestran una analogía relevante con
la belleza, el misterio y el terror del gótico.The purpose of this doctoral dissertation is to investigate and better understand the multiple influences that, together with the development and spreading of literary translations (highlighted by Stuart Gillespie and David Hopkins), played an important role in the rise of the early Gothic novel at the end of the eighteenth century. While deeply inspired by and imbued with internationally recognised critical literature of the Gothic, this study avoids assuming the critical stances of the twentieth and twenty-first centuries. It proceeds backward in time, scrutinizing the authors, their cultural background, their knowledge, and their eighteenth-century perspectives. The focus is concentrated on the first manifestations of the Gothic genre in the decades that followed the novelty introduced by Horace Walpole with The Castle of Otranto in 1764. The restricted fin de siècle timespan (1786-1796) of the early Gothic works that is explored in this thesis is inversely proportional to the high level of creativity and inventiveness of their authors. This dissertation aims at demonstrating that the pervasiveness and reiteration of Classical, Medieval, and Renaissance themes were consciously chosen and adapted to their plots by William Beckford (Vathek, 1786), Ann Radcliffe (The Romance of the Forest, 1791), and Matthew G. Lewis (The Monk, 1796), whose novels were an interesting and unusual syncretism of literary, cultural, and iconographic ideas and resources that they absorbed both from their contemporaries and, most importantly, from authors of the past. The three novels analysed in this thesis were written before, during, and after the French Revolution, which has been taken by many as a point of reference for and as a cause of the Gothic. The aim of this study is also to demonstrate that the association with the French Revolution is a critical convention a quo, which does not take into consideration Gothic peculiarities that already existed before the dramatic events in France. Other important aspects included in this investigation are the function of architectures, landscapes and iconographies in the novels. The dissertation is divided into five parts. The first part introduces the major themes and the rationale behind this investigation together with the motivation for embarking on a study on the Gothic. The central body is represented by three chapters. Every chapter analyses one novel and underscores its connection with authors such as Lucretius, Virgil, Ovid, Dante, Boccaccio, Shakespeare, and many others. The fifth chapter contains the conclusion and the future hypotheses of investigation brought about by this research. The bibliography features a variety of source texts and translations that were known to the novelists examined in this dissertation. The three Gothic writers’ language inevitably reflected and echoed themes and styles inherited from authors of different epochs. An iconography annex introduces a series of paintings and images that showed relevant associations with Gothic beauty, mystery, and horror.
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Saliceto, Elodie. "Néoclassicismes littéraires : La représentation de l'Italie et ses enjeux esthétiques, de Chateaubriand à Stendhal." Thesis, Saint-Etienne, 2010. http://www.theses.fr/2010STET2131.
Повний текст джерелаАнотація:
Ce travail s'attache à décrire la représentation de l'Italie par des auteurs français ou francophones à l'articulation des XVIIIe et XIXe siècles (1790-1829). Son objectif est de réhabiliter le principe esthétique de "néoclassicisme" à travers le paradigme italien, et d'en démontrer la pertinence en tant que catégorie d'analyse littéraire élaborée a posteriori. Le choix d'une telle terminologie implique d'emblée la permanence d'un idéal "classique" de représentation, dont il s'agit d'examiner les modalités et de mesurer l'infléchissement au sein de démarches plurielles d'écriture. Le parcours suivi conduit à étudier les formes de l'exemplarité de l'antique et l'héritage de tradition académique, puis leur inscription dans une réflexivité - un "classicisme au second degré" - souvent sur le mode polémique; après la Révolution, le néoclassicisme apparaît dans le tiraillement entre une pensée tragique du devenir historique et différentes tentatives de refondation par la littérature. La définition paradoxale de la modernité qui en découle contribue à fonder la conscience patrimoniale d'une époque de transition; réinventer le présent au service de l'avenir ne peut se faire que "sous le signe de Janus"This dissertation describes French and Francophone writers' representations of Italy at the turning point between the eighteenth and nineteenth century (1790-1829). It aims to rehabilitate the aesthetic principle og "neoclassicism" through the Italian paradigm, and to show its relevance as an a posteriori category for literary analysis. The choice of such a terminology immediately implies the permanence of a "classical" ideal in terms of representation, the modalities of which need to be examined. This work also reflects on the evolution of the notion as it treated by various authors. It begins by examining the exemplarity of the antique as well as th heritage of the academic tradition, before turning to a consideration of their inscription in an often polemical reflexivity ("second-degree classicism"). After the French Revolution, neoclassicism emerges in the tension between the tragic thought of a historical becoming and literature's multiple attempts at restructuring it. The subsequent and paradoxical definition of modernity contributes to generate a transitional period's collective awareness of itself as constituting a legacy. Reinventing the present for future's sake can only happen "under the sign of Janus"
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Atzori, Martina. "Aurea aetas, poésie latine et renouveau de l’Église au début du XVIe siècle." Thesis, Bourgogne Franche-Comté, 2020. http://indexation.univ-fcomte.fr/nuxeo/site/esupversions/64e4efb0-0246-4577-8689-c2eda81e80ab.
Повний текст джерелаАнотація:
Léon X est élu au trône pontifical en mars 1513 dans un moment historique caractérisé par une crise profonde des institutions ecclésiastiques et des mœurs du clergé. Au début du XVle siècle, le mythe atemporel et universel de l'âge devient ainsi la clé de lecture d'un programme politique complexe, dans lequel les ambitions des Médicis concourent au renforcement de l'autorité du pontife et à l'élan réformateur tant des laïcs que des factions les plus pieuses du monde catholique : ceux-ci considèrent l'élection de ce pape comme la source d'un nouvel espoir pour la tant souhaitée Reformatio ecclesiae. Léon X, par son origine, son soutien aux Lettres et à l'imprimerie et notamment par sa décision de poursuivre le Concile de Latran (1412-1517), semblait incarner le Pasteur angélique attendu depuis longtemps, celui qui serait capable de gouverner et de guérir une Église catholique en plein désarroi. Notre étude porte sur la production poétique en langue latine qui acclame le nouveau pontife dans l'attente d'un renouveau. Nous avons mis au jour les multiples implications du mythe au sein d'une production poétique protéiforme, avec une attention particulière pour les implications religieuses. Dès son élévation à la chaire de Saint Pierre, les poètes rivalisent de vers pour célébrer le nouveau pontife. Considérés généralement par la critique comme des panégyriques répétitifs, ces poèmes nous ont cependant permis d'apporter un nouvel éclairage sur le mythe de l'âge d'or de la décennie léonine. Ces poètes laudateurs reprennent les thèmes marquants de la propagande médicéenne et contribuent à la construction méticuleuse d'un programme iconologique et spectaculaire, axée sur la consécration du pape-roi. L'analyse de cette riche création poétique fleurissant sous le premier pape Médicis dévoile une réalité complexe et contrastée. À l'image irénique des poètes regroupés en solidarités sur le fond romantique des ruines de Rome se superpose une autre vision plus tourmentée, dans laquelle la confrontation entre factions adverses présage de la réforme à venir. Derrière la dorure d'une poésie imprégnée de classicisme, cristallisée dans une tradition historiographique désormais dépassée, les réminiscences mythologiques alternent avec des apparitions monstrueuses suggérant la hantise permanente de l'invasion ottomane. À la tension religieuse millénariste succède une sincère dévotion chrétienne de groupes réformateurs à la recherche désespérée d'une régénération de l'Église. L'examen et la traduction de nombreux poèmes, dont certains inédits, nous a permis de recueillir les aspirations les plus profondes et les obsessions récurrentes d'une époque de transition, qui allait faire bientôt face à la crise des valeurs de la RenaissanceIn the eyes of those who had experienced it, the time of Leo X shone with a shining light.The election of Pope Lee X in 1513 was initially welcomed as the beginning of a new era for the Catholic Church. With the newly elected pope setting out to reassert Rome's role as the centre of Christianity, many contemporaries soon interpreted his pontificate as a return to the Golden Age of myths. At the beginning of the 16th century, the timeless and universal myth of the Golden Age thus became the key to a complex political programme, in which the ambitions of the Medici were combined with the strengthening of the pontiff's authority and the reforming impetus of bath the intellectuals and the most pious groups in the Catholic world. In fact, this topos-myth of Golden Age gave expression to the general atmosphere of optimism but is also intricately linked the hopes and aspirations of the Christian community to renewal and reform. Lee X, with his patronage of the arts, his support of education and the printing press, and his decision to proceed with the Fifth Lateran Council (1412-1517), seemed to confirm all the high expectations placed upon him as the long-awaited Pastor ange/icus, capable of leading and healing a Catholic Church in disarray.Durîng his pontificate, a multitude of poetic works in praise of Leo X were composed and published, with some simultaneously proposing ideas for urgently-needed improvements to the Church - aware perhaps of the imminent dangers facing the Occident : the possibility of a further fragmentation within the Christian faith and the external threat posed by the rise of the Ottoman Empire in the East.This study is focused on significant examples of this type of poetry in Latin, an often underrated, perhaps even neglected form of literature, which manages to address questions of Christian faith and religiosity in the form and style of classical antiquity.The analysis of this rich poetic production flourishing under the first Medici Pope has revealed a complex and faceted reality. These laudatory poets take up the important themes of Medici propaganda and contribute to the meticulous construction of the iconological and spectacular program, centred on the consecration of the new « Pope-King ».At the irenic image of poets grouped in cultural circlESagainst the romantic background of the ruins of Rome is superimposed another more tormented reality, in which the confrontation between opposing factions is already a burst of reform. Behind the gilding of a poetry steeped in classicism, crysta llized by a historiographie tradition now obsolete, mythological revivais alternate with monstrous apparitions and the permanent haunting of the Ottoman invasion, millenarian religious tension alternate with a sincere Christian devotion of reforming groups in searchinq desoeratelv for a reqeneration of the catholic communitv. Amonq the canters of Leo X, Zaccaria Ferreri,theologian and reformer who had been involved in the Council of Pisa (1511- 1513), has deserved special attention in our study . His poem Lugudunense Somnium, written under the pressure of events, presents to us the celestial ascent of an initiatory journey, which is intended as a political act and a divine manifesta of the pontiff's superiority over the councils.The analysis and translation of many poems (many of which are unpublished) allowed us to collect the deepest aspirations and the recurrent obsessions of an era of great transformations, to highlight a network of prominent indlviduals pushing for a Renovatio Ecc/esiae on the eve of Protestantism, shortly before the crisis of values of the Renaissance
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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.
Повний текст джерелаАнотація:
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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Gayard, Laurent. "La N. R. F. : une politique de la littérature ? : un exemple de renouvellement des élites intellectuelles, 1908-1968." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0111.
Повний текст джерелаАнотація:
Ce travail de recherche au croisement de l'histoire, des sciences politiques et de la littérature a pour objectif de montrer de quelle manière la NRF peut être considée comme une institution et un lieu de renouvellement des élites si l'on considère son évolution sur un temps long, de 1908 à 1968. À travers de l'histoire de la revue au cours de soixante ans, cette thèse met à l'épreuve la validité des concepts de génération, de milieu et de sociabilités intellectuelles en montrant de quelle manière la première génération des fondateurs, dans un contexte marqué par le recul du fait religieux et l'avènement de la modernité issue des bouleversements des XVIIIe et XIXe , élabore une nouvelle conception romanesque fondée à la fois sur un classicisme renouvelée et sur la volonté de promovoir l'introspection psychologique à travers le renouveau romanesque. L'étude cherche à montrer ensuite de quelle manière la NRF, à travers les soubresauts et les tragédies du XXe siècle, intègre de nouvelles générations d'auteurs, tout en s'opposant parfois violemment à elles. À travers ces oppositions, nous percevons notamment l'envahissement de plus en plus marqué du champ littéraire par la politique et l'idéologie. Le projet des créateurs de la NRF de promouvoir une littérature dégagée des considérations politiques et partisanes se trouve lui-même de plus en plus sérieusement remis en question au cours de l'entre-deux guerres jusqu'à être nié sous la direction de Pierre Drieu la Rochelle au cours de l'occupation. La NNRF qui renaît en 1953 choisit de revenir au classicisme esthétisant des débuts sans toutefois retrouver la place qu'elle occupait avant la guerreThis research at the crossroads of history, political science and litterature aims to show how the NRF can be regarded as an institution and a place of renewal of elites if we consider its evolution on a long time, from 1908 until 1968. Throughout the history of the magazine over sixty years, this thesis is testing the validity of the concepts of generation, background and intellectual sociability by showing how the first generation of the founders, in a context characterized by the decline of religion practice and the advent of modernity after the upheavals of the eighteenth and nineteenth century, developed a new design novel based both on a renewed classicism and on the desire to promote the psychological introspection through the novel revival. The study then seeks to show how the NRF, through the upheavals and tragedies of the twentieth century, integrates new generations of authors while sometimes violently opposing them. Through these oppositions, we perceive more and more the invasion of the literary field by politics and ideology. The will of the creators of the NRF to promote litterature freed from political and partisan considerations is itself more seriously challenged during the interwar period to be denied under the direction of Pierre Drieu La Rochelle during the occupation. The NNRF reborn in 1953 chose to return to classicism aesthetic early but never got back the place it occupied before the war
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SANCHEZ, DE MAYO PABLO. "Il vegetarismo nel mondo greco-romano: classicismo e cristianesimo." Doctoral thesis, 2020. http://hdl.handle.net/11573/1391836.
Повний текст джерелаАнотація:
La presente Tesi di Dottorato ha come obiettivo quello di studiare il vegetarismo nel mondo greco-romano, soffermandosi sulle motivazioni di natura filosofico-religiosa e etica che servirono per giustificarlo e su come questi valori furono trasferiti dal mondo classico a quello cristiano. Sono state analizzate le fondamenta del vegetarismo nel mondo greco, con particolare attenzione all’orfismo e al pitagorismo, proseguendo poi con il loro sviluppo nel mondo romano, con particolare attenzione allo stoicismo, nel mondo post-classico, nel neopitagorismo e nel neoplatonismo, e studiando nella seconda parte come questi principi siano stati assunti dal Cristianesimo, in particolare negli ambienti ascetici e monastici. Sono state studiate le ragioni addotte dai filosofi grecoromani a sostegno del vegetarismo (la ricerca di purezza e di “non contaminazione”, gli effetti della trasmigrazione delle anime, i valori etici) e sono state evidenziate le somiglianze e le differenze con la concezione cristiana del vegetarismo (auto-dominio, controllo delle passioni, esercizio ascetico), con l’obiettivo di dimostrare il trasferimento di valori e la sopravvivenza dell’eredità classica nella tradizione cristiana. L’arco cronologico è molto amplio e si estende dalle prime testimonianze nella letteratura greca (Omero, Esiodo) fino al pieno sviluppo di queste idee nella filosofia classica e nel Cristianesimo, arrivando sino all’esperienza monastica (secc. IV-VI d. C.).
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Petracca, Elena. "Robert van Audenaerde (1663-1743): artista e incisore marattesco." Doctoral thesis, 2021. http://hdl.handle.net/2158/1253552.
Повний текст джерелаАнотація:
Studio monografico sull'incisore e pittore fiammingo Robert van Audenaerde (Gent 1663-1743). La tesi si concentra in particolare sull'attività incisoria dell'artista durante il suo lungo soggiorno italiano, trascorso prima a Roma e successivamente a Verona e conclusosi nel 1720. Nel primo volume della tesi vengono ricostruite le vicende biografiche dell'artista e la sua carriera grazie all'utilizzo di documenti d'archivio, di stampe realizzate da Van Audenaerde e delle fonti antiche, mentre nel secondo volume sono analizzate nel dettaglio le opere incisorie di cui si riportano, ove è stato possibile, disegni preparatori e matrici calcografiche originali, conservate per la maggior parte presso l'Istituto Centrale della Grafica di Roma. Attraverso un attento riesame del rapporto di Robert van Audenaerde con il suo maestro romano, il pittore Carlo Maratti (1625-1713), si è cercato di comprendere quale fosse realmente la posizione del fiammingo non solo nella bottega marattesca, ma anche nell'ambiente editoriale e culturale romano, fino ad arrivare a rivalutare gli anni veronesi dell'artista sotto una nuova luce.
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Mesquita, Jorge Manuel Simão. "Fundamentos da cultura Greco-romana no Bom Jesus do Monte." Master's thesis, 2018. http://hdl.handle.net/1822/60362.
Повний текст джерелаАнотація:
Dissertação de mestrado em Património CulturalO Bom Jesus do Monte é um santuário de excelência que se localiza nos arredores da cidade de Braga e que merece a atenção e admiração dos bracarenses, assim como dos inúmeros turistas, crentes e não crentes, que se deslocam ao local. Esta pesquisa tem como objetivo estudar alguns aspetos da cultura greco-romana presentes no Bom Jesus do Monte, em Braga. Existem vários estudos sobre este sacro-monte, porém as referências à mitologia clássica presentes no local são um ponto pouco explorado e abordado nestes estudos. Neste sentido, deu-se especial atenção aos ornamentos que aludem a figuras da mitologia greco-latina, sendo necessário referi-los e estudá-los, destacando-os pela sua importância e simbologia, em articulação com o local ao qual foram destinados, e explorando aspetos que ainda não tenham sido apreciados em estudos anteriores. As inscrições epigráficas também são um ponto abordado nesta investigação, uma vez que, estando presentes, o seu entendimento se torna indispensável para os que queiram tentar compreender as intenções que nortearam a criação dos vários programas que integram o conjunto total deste sacro-monte tal como ele se nos afigura hoje. A preservação do local, mudanças a que esteve sujeito e os sinais visíveis de erosão do tempo são também abordados neste estudo. Deu-se também especial atenção à criação de uma proposta de rota para turistas aplicada ao percurso deste sacro-monte para facilitar uma maior compreensão da evolução do local das origens e até à atualidade e sua importância. Em suma, o Bom Jesus do Monte é um local sagrado que passa direta e indiretamente uma mensagem impressionante de uma obra de arte completa, que reflete e comunica a cada instante um discurso tanto religioso como artístico a quem lá passa, pelo que é importante tentar estudá-la, percebê-la e comunicá-la aos visitantes interessados.
Bom Jesus do Monte is a sanctuary of excellence in the city of Braga that deserves the attention and admiration of the various tourists, believers and non-believers, who explore this place. This research aims at a study on some aspects of Greco - roman culture present in Bom Jesus do Monte, Braga. There are several studies about this sacrum-mount but the allusions at aspects of classical mythology present in this place are seldom explored and mentioned in these studies. Therefore, special attention was paid to the ornaments that refer to classical mythology; this research meant to identify the mythological goddesses, gods and heroes alluded to in various elements present in this architectural and landscape complex, paying attention to the relation between mythological figures and their placement and exploring aspects that were not yet referred to in previous studies. Latin epigraphic engravings were also studied because, having been intended and done, if one wants to get a glimpse into the intentions of the mentors, one has also to understand them within the overall arrangement of this heritage site. The preservation of the place, changes over time and the visible signs of erosion are also addressed in this study. Attention was also paid to the creation of a proposal for a tourist route along this sacrum-mount with the intention of providing information for a better understanding of various levels of meaning and the evolution of this complex. Bom Jesus do Monte is a sacralised place that conveys, directly and indirectly, an impressive message of a total art work that, at every moment, provides discourses both religious and artistic to those who wander there, reasons why it is so important to try to study and to try to understand it.
Книги з теми "Classicismo romano"
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1928-, Haskell Francis, Gasparri Carlo, and Jodice Mimmo 1934-, eds. Classicismo d'Età romana: La collezione Farnese. Napoli: Guida, 1988.
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2
interviewer, Prescendi Francesca 1967, and Morresi Daniele interviewer, eds. Dai Romani a noi. Bologna: Il mulino, 2019.
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3
Vivas, Gustavo García. Ronald Syme: El camino hasta "la revolución romana" (1928-1939). Barcelona: Universitat de Barcelona, 2016.
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4
Classical canons: Rhetoric, classicism and treaty interpretation. Aldershot: Ashgate, 2001.
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5
Kiilerich, Bente. Late fourth century classicism in the plastic arts: Studies in the so-called Theodosian renaissance. [Odense]: Odense University Press, 1993.
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6
Griegos y romanos en la Primera República Colombiana: La antigüedad clásica en el pensamiento emancipador neogranadino, 1810-1816. Bogotá, D.C., Colombia: Academia Colombiana de Historia, 2007.
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7
Doering, Detmar. Die Wiederkehr der Klugheit: Edmund Burke und das Augustan Age. Würzburg: Königshausen & Neumann, 1990.
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8
Seminario internazionale di studi storici "Da Roma alla terza Roma" (9th 1989 Moscow, Russia). Rimsko-konstantinopolʹskoe nasledie na Rusi: Idei͡a︡ vlasti i politicheskai͡a︡ praktika : IX Mezhdunarodnyĭ seminar istoricheskikh issledovaniĭ "Ot Rima k Tretʹemu Rimu" Moskva, 29-31 mai͡a︡ 1989 g. = L'eredità Romano-Co[n]stantinopolitana nella Russia medioevale : idea del potere e pratica politica : IX Seminario Internazionale di studi storici "Da Roma alla terza Roma" Mosca, 29-31 maggio 1989. Moskva: Rossiĭskai͡a︡ akademii͡a︡ nauk, Institut Rossiĭskoĭ istorii, 1995.
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9
Novel and romance: The Odyssey to Tom Jones. Basingstoke: Macmillan, 1989.
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Rankine, Patrice D. Ulysses in Black: Ralph Ellison, classicism, and African American literature. Madison, WS: University of Wisconsin Press, 2007.
Знайти повний текст джерелаЧастини книг з теми "Classicismo romano"
1
Williams, Michael. "‘A Monument to Youth and Romance’: The Death of Rudolph Valentino." In Film Stardom, Myth and Classicism, 174–201. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291493_7.
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Donno, Fabrizio De. "Orientalism and Classicism: The British-Roman Empire of Lord Bryce and His Italian Critics." In Tributary Empires in Global History, 48–73. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307674_3.
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Kaldellis, Anthony. "Classicism, Barbarism, and Warfare: Prokopios and the Conservative Reaction to Later Roman Military Policy." In American Journal of Ancient History (New Series 3-4, 2004-2005 [2007]), edited by T. Corey Brennan, 189–222. Piscataway, NJ, USA: Gorgias Press, 2004. http://dx.doi.org/10.31826/9781463213930-010.
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Wimsatt, William K., and Cleanth Brooks. "Roman Classicism: Horace." In Literary Criticism: A Short History, 77–96. Routledge, 2021. http://dx.doi.org/10.4324/9781003140917-6.
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Wimsatt, William K., and Cleanth Brooks. "Roman Classicism: Longinus." In Literary Criticism: A Short History, 97–111. Routledge, 2021. http://dx.doi.org/10.4324/9781003140917-7.
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"Trois Romans Expérimentaux." In Entre Classicisme et Modernité, 209–59. BRILL, 2003. http://dx.doi.org/10.1163/9789004486591_011.
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Fitzgerald, William. "Voicing Antiquity." In The Living Death of Antiquity, 174–212. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192893963.003.0004.
Повний текст джерелаАнотація:
In this chapter, the ancient collection of anonymous poems known as the Anacreontea and the Horatian pastiches of the French Parnassian poet Charles Leconte de Lisle (Études latines, 1852) are examined as ‘neoclassical’ versions of the ancient sympotic themes of drinking and loving. Here classicism meets cliché. Each of these collections is a stripped-down version of an earlier poet (the archaic Greek poet Anacreon and the Roman poet Horace) that aspires to a neoclassical simplicity. The chapter examines the relation between the drinking event and the timelessness of (neo)classicism; the role of pastiche as immortalization; and the emergence of a distinctive poetics of simplicity in these works. The reception of the Anacreontea, especially during the core neoclassical period, and the character of French Parnassian classicism’s obsession with whiteness are also discussed. The chapter ends by considering the difference between Leconte de Lisle’s use of ancient topoi of transience and the very different use in Baudelaire’s essay The Painter of Modern Life.
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Morse, Heidi. "Roman Studios." In Classicisms in the Black Atlantic, 133–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198814122.003.0006.
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The Roman residencies of two American artists, nineteenth-century sculptor Edmonia Lewis and contemporary photographer Carrie Mae Weems, illustrate the value of locating classical receptions in the African diaspora in unexpected places and mediums. Rome’s status as the epicenter of ancient imperialism, as well as a hub for the intertwined legacies of race and neoclassicism in transatlantic modernity, makes it a particularly charged site for black women artists. Analyzing photographs in Weems’s 2006 series Roaming as portals into the cultural and geographic spaces occupied by Lewis as she designed her 1876 sculpture Death of Cleopatra, this chapter demonstrates the breadth and vibrancy of black women’s visual interventions into modern perceptions of the classical past. Inspired by the enduring material and cultural presences of ancient Egypt in modern Rome, both artists mark out Roman spaces as historic as well as contemporary spaces for blackness, rather than facades performing whiteness.
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Elsner, Jaś. "CLASSICISM IN ROMAN ART." In Classical Pasts, 270–98. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv19fvxqg.14.
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"Pour un Nouveau Roman." In Entre Classicisme et Modernité, 171–208. BRILL, 2003. http://dx.doi.org/10.1163/9789004486591_010.
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