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1
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.
2
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
3
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.
4
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.
5
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.
6
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.
7
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.
8
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.
9
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.
10
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.
11
Shyntyapina, Ye S. "FAIRY-TALE AND MYTHOLOGICAL MOTIFS IN THE DECORATION OF ARCHITECTURAL COMPLEXES BY N. P. KRASNOV IN YALTA DISTRICT." Arts education and science 1, no. 3 (2021): 101–9. http://dx.doi.org/10.36871/hon.202103013.
Повний текст джерелаАнотація:
The article deals with fairy-tale and mythological motifs in the work of the architect N. P. Krasnov, represented in the decoration of the palace and manor complexes of the Romanov family Dulber and Livadia, as well as the estates of the princes Yusupov in Koreiz and Kokkoz, erected on the territory of Yalta district in 1880–1913. The stylistic continuity of architectural complexes was expressed in the ornament and decorative plastics created by the architect under the influence of Italian Renaissance, Classicist canons and Neo-Moorish elegance. The paper analyzes characteristic features of stylistic interrelations in the considered constructions by N. P. Krasnov, identifying fairy-tale, mythological artistic and figurative motifs in exterior decoration and sculpture. A full-scale study of architectural decoration and sculpture of the palace and manor complexes allows to identify the main fabulous and mythological motifs, borrowed and interpreted by N. P. Krasnov during his work as chief architect of Yalta. The study reveals that, referring to the traditions and historical architectural heritage of the Southern Coast of Crimea and artistic culture of the Mediterranean, the architect interpreted mythological subjects in plastic exterior relief, bas-reliefs and sculpture.
12
Tkachenko, Victoria. "From the Time of Troubles to the Unity Day: Memory, Forgetting and Re-imaging the Past in Russian History." University of Bucharest Review. Literary and Cultural Studies Series 10, no. 1 (October 5, 2021): 85–98. http://dx.doi.org/10.31178/ubr.10.1.7.
Повний текст джерелаАнотація:
This article examines how the memory of one of the largest sociopolitical crises in the history of Russia (called the Time of Troubles) modified over 400 years. This process is considered as an example of rethinking the traumatic experience of the past and forming a national-patriotic myth on its basis. Several stages of the evolution of the memory of the Time of Troubles are issued: the XVII century – when the interpretation of these events was mainly religious; the XVIII century – when heroic and patriotic ideas about the time of troubles were formed in accordance with the ideals of classicism; the XIX century – the time of the development of the monarchical myth of the Romanov dynasty coming to power; the XX century – when the peasant war and the struggle against foreign intervention became the main dominant in the understanding of events; Modern Russia and the annual celebration of the National Unity Day – a public holiday established in 2005 in memory of the liberation of Moscow in 1612, the main idea of which is the unification of all peoples on the territory of the Russian Federation. It is noted that for centuries in the cultural memory of Russian society, two layers of ideas about the Time of Troubles coexisted. One of them – negative – was the memory of social upheavals and civil war, the other – positive – the memory of victory and overcoming the Troubles, evoking a sense of national pride and hopes for the future.
13
Duplá Ansuátegui, Antonio. "Augusto y el franquismo: ecos del Bimilenario de Augusto en España." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 137. http://dx.doi.org/10.20318/revhisto.2017.3968.
Повний текст джерелаАнотація:
Resumen: El objetivo de este artículo es analizar una serie de iniciativas concretas que tuvieron lugar en España entre 1938 y 1940 como eco local del Bimilenario de Augusto celebrado en Italia. En todos estos actos el protagonismo de Falange, uno de los principales partidos fascistas entonces, fue fundamental, tanto en la dirección política como en la organización práctica. Los falangistas mantenían relaciones con los dirigentes mussolinianos y uno de los temas preferidos en su propaganda era la hermandad italo-española, que se remontaba a su común pasado romano y católico. En los primeros años del nuevo régimen franquista, esta ideología clasicista, en particular en torno a la figura de Augusto y la antigua Roma imperial, contribuyo a la conformación de la nueva identidad nacional, basada en un pasado glorioso y dirigida por el nuevo líder carismático.Palabras clave: Bimilenario de Augusto, Roma antigua, fascismo, Falange, Franco, P. Galindo.Abstract: This paper aims to analyse several events in Spain between 1938 and 1940 as local echoes of the bimillenary of Augustus in Italy. In all these events a fundamental role was played by Falange, one of Spain’s leading fascist groups of the time, both in terms of intellectual direction and practical organisation. They had ties with the Mussolinian leaders and intellectuals, and one of the recurring themes in their propaganda was the fraternity between Italy and Spain which they dated back to a common, ancient Roman and Catholic past. In the first years of Franco’s new regime this classicist ideology, in particular the link with Augustus and ancient imperial Rome, contributed to the building of a new national identity, based on a glorious past and conducted by a new charismatic leader.Key words: Bimillenary of Augustus, ancient Rome, fascism, Falange, Franco, P. Galindo.
14
Föcking, Marc. "Christo si è fermato a Napoli. Renaissance und Reformation im Neapel des 16. Jahrhunderts (Giovanni Domenico di Lega, Morte di Christo, Napoli 1549)." Romanistisches Jahrbuch 70, no. 1 (November 18, 2019): 186–217. http://dx.doi.org/10.1515/roja-2019-0007.
Повний текст джерелаАнотація:
Abstract Despite being only a minor member of the Neapolitan Accademia degli Incogniti and being far less known than prominent members of the academy such as Laura Terracina, Giovan Domenico di Lega published the highly significant sacred tragedy Morte di Christo in 1549. The text mirrors the classicist poetics of an Aristotelian tragedy and emphasises the belief of partial adaptability of Aristotelian concepts to the neotestamentarian content of Christ’s passion and crucifixion. Thus transforming the traditional Sacra rappresentazione into a “tragedia sacra”, di Lega choses not only a typical approach of Renaissance poetics to biblical texts, he also stages mainly the gospel according to John. In doing so he not only shows to be a philologist rather than a teller of pious legends like the authors of Sacre rappresentazioni, but he also presents himself as a supporter of a free circulation of the New Testament in its vernacular version, which was suppressed in Naples being part of the Spanish territories. In clear opposition to Spanish politics of religion in Naples, but in accordance with other members of the Accademia degli Incogniti and the former group of ‘spirituali’ around Juan de Valdés, who died in Naples in 1541, di Lega combines the major texts of a not only ‘Lutheran’ reform – the gospel according to John and the letter of saint Paul to the Romans – with the spirituali’s manifesto Il beneficio di Cristo, prohibited and burned shortly afterwards. In an increasingly orthodox environment such as Naples during the 1540 s di Legas Tragedia sacra with its combination of Renaissance poetics and explosive elements of religious reform could not be of great success, therefore there exists no further edition after the one of 1549. Nonetheless it witnesses the aborted attempts of Catholic reform in mid sixteenth century Naples.
15
Corso, Antonio. "Praxitelian Dionysi." EULIMENE, December 31, 2000, 25–53. http://dx.doi.org/10.12681/eul.32682.
Повний текст джерелаАнотація:
Si percorre l'evoluzione dell'interpretazione statuaria di Dioniso nel Santuario di Dioniso Eleutereo ad Atene, dallo xoanon arcaico del dio alla statua criselefantina di Alcamene, ai tipi Hope, alcamenico, e Sardanapalo, cefisodoteo. Questa tradizione figurativa, e l'Ermete con Dioniso di Cefisodoto il Vecchio, stanno alla base della ridefinizione del dio operata da Prassitele. L'immagine di Dioniso accreditata nelle 'Baccanti' di Euripide ebbe pure un rilevante impatto nelle cultura figurativa tardoclassica. Alla bottega di Prassitele è riconducibile la base di monumento coregico, con Dioniso e due Vittorie, che si trova ad Atene, Museo Archeologico Nazionale, n. 1463. Il Dioniso di Prassitele ricordato da Plinio e descritto da Callistrato può esser riconosciuto, grazie alla descrizione di questi, nel tipo Sambon/Grimani. Il Dioniso d'Elide, pure di Prassitele, è raffigurato su monete di questa città e riconoscibile nel tipo Tauromorfo Vaticano/Albani. L'Ermete con Dioniso di Olimpia è forse un donario degli Elei del 343 A. C. ed è quasi certamente un'opera originale di Prassitele. Ai figli di Prassitele è ascrivibile il Dioniso WoburnAbbey/Castle Howard, rimeditazione del tipo Sambon/Grimani. Il tipo Richelieu/Prado pare dipendere da una variante protoellenistica del tipo Woburn Abbey/Castle Howard, il tipo Jacobsen sembra essere un adattamento dello stesso alla temperie barocca, il tipo Terme pare costituire una rimeditazione del medesimo in chiave Rococo. Il tipo Cirene offre una soluzione tardorepubblicana dello stesso schema compositivo, rispondente all'esigenza eclettica di valorizzare le soluzioni ritenute migliori di Prassitele, Policleto e Lisippo. Il tipo Borghese/Colonna sembra un adattamento del ritmo Woburn Abbey alla predilezione neoattica per ritmi frontali. Il tipo Horti Lamiani/Holkham Hall pare un adattamento del tipo Woburn Abbey alla posizione di quinta architettonica destra di un ambiente. Il tipo Copenhagen/Valentini risponde al bisogno, tipico del classicismo romano, di dare movimento e vita alla creazione statuaria. Altri due Dionisi, che si trovano a Digione e a Cirene, sono variazioni del tipo Jacobsen. La documentazione raccolta dimostra che l'immagine del dio elaborata nella corrente prassitelica divenne quella consueta nella cultura iconografica di età ellenistica e imperiale.
16
Corso, Antonio. "Classical, not Classicistic Thoughts on the origins of «Classicizing Roman Sculpture»." EULIMENE, December 31, 2002, 11–36. http://dx.doi.org/10.12681/eul.32740.
Повний текст джерелаАнотація:
Classico, non classicista: riflessioni sulle origini della cosiddetta «scultura romana classicistica» In questo articolo è affrontata la problematica delle copie di età ellenistica e soprattutto romana derivate da statue originali di età greco–classica. Vengono distinte le varianti, che non necessariamente risalgono a un originale comune, dalle copie vere e proprie, che invece derivano dalla stessa statua. Sono quindi esaminati casi in cui siano sopravvissuti sia l’originale sia copie da questo ottenute, la casistica delle basi da originali famosi giunte sino a noi e quella delle opere tramandate dalla tradizione antica che sono state riscoperte. Sono altresí richiamate le menzioni di maestri e capolavori di scultura e pittura da parte di scrittori di età classica. Inoltre, si riepiloga succintamente la tradizione antica della critica d’arte. È presentata in modo cursorio la storia dei tentativi di attribuire sculture superstiti agli scultori celebrati dalle fonti antiche, dal quattordicesimo secolo ai nostri giorni. È altresí preso in considerazione lo scetticismo diffuso attualmente sulla possibilità di istituire tali relazioni e sono indicati motivazioni e sostrato culturale che hanno portato diversi studiosi a tale conclusione. Infine, è ribadita la tesi opposta, che diverse creazioni statuarie note da copie di età romana, ritenute spesso ora opere classicistiche romane, risalgono di contro a originali del quinto e quarto secolo a.C. I motivi addotti a sostegno di tale tesi sono essenzialmente tre:1. la concordanza iconografica spesso convincente tra tipi copistici di età romana e capolavori di età classica noti da menzioni lettetarie;2. il fatto che diversi tra questi tipi sono stati rieccheggiati su rappresentazioni di piccolo formato già in età classica o nel primo ellenismo;3. infine il fatto che le grandi arti figurative erano per lo più ritenute morte, o moribonde, durante l’età in cui la produzione copistica fu più intensa.
17
Donoso, Isaac. "«Cabayong tabla: estudi i traducció d'un romanç filipí del regne de València (II)»." Revista de Literatura Medieval, December 21, 2018, 13–40. http://dx.doi.org/10.37536/rlm.2017.29.0.69405.
Повний текст джерелаАнотація:
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.
18
Fiore, Vincenzo. "Alessandro Manzoni: il «reale» e il «possibile» nel dialogo Dell’invenzione." Toruńskie Studia Polsko-Włoskie, December 17, 2020, 145–54. http://dx.doi.org/10.12775/tsp-w.2020.009.
Повний текст джерелаАнотація:
Il dialogo Dell’invenzione, pubblicato nel 1850, sembra a prima vista del tutto estraneo all’arco della quasi quarantennale riflessione teorica manzoniana, che sul tema del rapporto fra storia e invenzione, dai cosiddetti Materiali estetici al Discorso del romanzo storico, sfugge sia all’ambito del formularismo pragmatico classicista sia all’opposta opzione romantica. Tale visione critica può intervenire a relegare il dialogo manzoniano al puro settore dei suoi scritti filosofici, e dunque a considerarlo di interesse minore, proprio per il suo oggetto, che è l’ontologia e la gnoseologia rosminiana, discussa dai tre personaggi fittizi di Primo, Secondo e Terzo.
19
Sechin, Alexander G. "Antiquity – Renaissance – Classicism: a chain of time and the «bundle of groups» in the drawing Russian baths by Mikhail Kozlovsky (1778)." Academia 3 (2020). http://dx.doi.org/10.37953/2079-0341-2020-3-1-299-322.
Повний текст джерелаАнотація:
The article is devoted to the methods of citing visual images in the rhetorical culture era, which extended from Antiquity to the 18th century inclusive. The drawing by Mikhail Kozlovsky that became his significant achievement in the course of studying the artistic heritage of Antiquity and the Renaissance in Rome was chosen as a case study to achieve this goal. In order to identify prototypes that one of the best students of the Fine Arts Academy could cite in his work the method of iconographic analysis of particular figures and groups of his drawing was applied in the context of preserved documents: reports sent by him to the Academy and, especially, Kozlovsky’s journal of art works that he had seen in Rome. This iconography is considered in close connection with the works of art mentioned and characterized by him in these texts. The analysis allowed us to discover first in the drawing Russian baths images based on the art of Raphael and his pupil Giulio Romano. For the first time in the study of Kozlovsky’s work is also used the iconological method based on the analysis of his drawing through the text of A Brief Guide to the Knowledge of Drawing and Painting of Historical Kind… by his contemporary Ivan Urvanov that allowed to find a theoretical justification of assimilation of the classic images by the graduate of the Fine Arts Academy of the 18th century. The author of the article discovered prototype of one of the groups of Kozlovsky’s drawing in the Vatican fresco Battle of Constantine. On the example of this group (as well as its ancient probable source) he considered a very important figure of visual rhetoric such as the contrapposto (antithesis in verbal art).
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Sim, Nadezhda, and Galina Stogova. "Main Stages in the Formation of the Theory of Architecture of the Spanish Renaissance (Based on Treatises of the 16th–17th centuries)." Russian Foundation for Basic Research Journal. Humanities and social sciences, January 22, 2020, 73–89. http://dx.doi.org/10.22204/2587-8956-2019-097-04-73-89.
Повний текст джерелаАнотація:
The Spanish treatises of the 16th — early 17th century on the theory of architecture are reviewed in the context of design evolution, stylistic features of text and visual material, sources of theoretical thought of predecessors that influenced the creative rethinking of architecture, generation of new original ideas and the determination of their place in the evolution of the architectural views of the Renaissance as a whole. The appeal to antiquity as a treasury of humanistic values was typical for the Spanish culture of the 16th century. The Spanish theorists interpreted the focus on the classical tradition in architecture as the embodiment of the ideas of Christian architecture, the source of which was the theoretical legacy of the Italian Renaissance.
The main stages in the formation of the theory of architecture of the Spanish Renaissance are reflected in the works of Diego de Sagredo “The Medidas del Romano” (1526), Juan de Arfe “Measurements for architecture and sculpture” (1564), Fray Lorenzo de san Nicolás “Art use of architecture” (1639). The authors of the treatises tell about the benefits and the need for study, use the construction and artistic experience of antiquity, and provide a didactic overview of the most significant theoretical works of their predecessors with practical tips for building professional skills. In general, the Vitruvian style as the structural basis of classicism was very popular in Spain during Renaissance, and its components serve as the fundamental method of practical use at each stage of the development of architecture.
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"THE HERO IN THE WORKS OF THE NEOCLASSICISTARTIST JACQUES LOUIS DAVID." Ulakbilge Dergisi 9, no. 65 (October 30, 2021). http://dx.doi.org/10.7816/ulakbilge-09-65-06.
Повний текст джерелаАнотація:
In this study, the phenomenon of heroism seen in the works of Jacques Louis David, one of the important representatives of French painting and Neoclassicism in the history of Western art, has been examined. The foundations of the neoclassical understanding began to be laid before the middle of the eighteenth century, and the reason for the reactivity was the excessive ornamentation and artificiality of the Baroque and Rococo before it. In the century it emerged, important developments in various fields laid the groundwork for Neoclassicism, and especially the effects of ancient cities unearthed in the archaeological area on artists formed the mainstay of the style. In this way, the artistic qualities of antiquity were brought to the fore. Ancient Greek and Roman works have shown their existence as a version of the updated worldview and a new aesthetic understanding. Its effects are seen in many branches of art, including the field of painting. By praising the noble simplicity and quiet splendor created by antiquity, pure and clear works, technically isolated from the effects of light, in which linearity comes to the fore, were produced. In the works of David, who is the most prominent artist of this style, which adopts order and limitations as its rules, dignified examples of a rational, moral and noble spirit are selected. In the artist's productions, symbolic images have served as elements that contribute to the semantic dimension of the expression. With the stable stance of Jacques Louis David, who was the official artist of the French Revolution as an extension of the Age of Enlightenment, the patriotism, self-sacrifice, and heroism ideals of the new classicism were articulated with the identity of the Romans formed with the ideas of virtue and pro-republic freedom in an original and updated aestheticized form. The transfer of heroic stories, which is an important feature of the movement, has taken its place in David's hands at a high level of maturity.