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1

STIL UND BEDEUTUNG: ÜBER KONKURRIERENDE RENAISSANCEMODELLE IN DER POLARISIERTEN WELT DES KALTEN KRIEGES

100%
Kodres K.
ARS
|
2015
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vol. 48
|
issue 2
118 – 135
EN
The main subject of this article is the texts of Soviet (and Soviet Estonian) art historians to Renaissance art at the time of Stalin to the thaw period - the period of the Cold War in the years 1945 - the 1965. They are compared with the texts that have been published on the opposite side of the iron curtain. The renaissance art history of both ideological camps had many similarities, because the treatise framework has been formed by the artistic discourse developing in the West since the 19th century.
2
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THE KNOWLEDGE ECONOMY OF THE RENAISSANCE: THE ADVENT OF PRINTING AND FINANCIAL INTEGRATION IN CENTRAL EUROPE

100%
Chilosi D., Volckart O.
Český časopis historický (The Czech Historical Review)
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2011
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vol. 109
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issue 2
262-282
EN
This paper examines the role of the advent of printing in explaining financial integration in Central Europe until 1520. It finds that printing promoted financial integration because it triggered a fall in the costs of transmitting information, assisted the functioning of the Holy Roman Empire in major centres and significantly increased the financial importance of human capital.
3
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Wystrój Dworu Artusa w Gdańsku z drugiej ćwierci XVI wieku. Przyczynek do stosunku protestantów do astrologii

100%
Woziński A.
Gdański Rocznik Ewangelicki
|
2011
|
vol. 5
64-81
EN
The décor of the Artus Court was the major artistic project prior to the legalizing of Protestantism in Gdansk. The rich programme combined the traditional Catholic topics, Antique motifs, and images testifying to the reception of Lutheranism. They were composed of the motifs related to the state, province, and the city, religion, civic responsibilities, as well as astrological subjects. Images containing astrological meanings constitute quite a substantial component of the décor. Their even arrangement in the interior turned them into an element integrating all the programme; additionally, astrological motifs appear in several separate enclaves in the décor (personifications of the seven planets of the cornice; the motifs on the capitals which refer to the relation between the universe and man as well as his environment; personifications of Moon and Venus located in the highest section of the stove; Sun and Moon in the late Gothic painting Ship of the Church; the impact of the various arrangements of the celestial bodies on the earth can be found in the late-Gothic painting Siege of Malbork as well as in Holofernes' Camp and the Siege of Malbork painted by Martin Schoninck). The presence of astrological images deeply rooted in the mediaeval tradition in the interior whose décor conveyed basically Lutheran thought, gives rise to the question to what extent Lutherans were ready to accept topics whose connotations referred to a suspicious, frequently condemned, but generally cultivated knowledge, to numerous abuses, and to what degree they filled them with new meanings. The reformers' attitude to astrology was not unanimous. Martin Luther did not favour it, meanwhile Philipp Melanchthon, friends with Luther, was of a different opinion with regard to astrology. He was not only a leading figure among the reformers, but also an outstanding personality at Wittenberg University. His assumption was that man being a creation of nature must be subject to the impact of stars which in their turn are subdued to God. As a reformer of the Church he followed the Holy Scriptures, as a reformer of astrology, in turn, he based himself on Ptolemy, while also drawing from Aristotle. At Wittenberg University he attracted quite a number of humanists, doctors, mathematicians, and astronomers who dealt with astrology. He himself and his followers agreed that only a pious scholar was able to read the heavenly signs and comprehend divine providence by means of astrology. The Wittenberg climate favourable to astrology may have affected Gdansk. The bonds between the two cities were quite close and many Gdansk residents, as well as individuals who were to settle later in Gdansk, such as the Protestant preachers.
4

DIE RENAISSANCE IN UNGARN UND ITALIEN AUS MARXISTISCHER UND NATIONALER PERSPEKTIVE. BEOBACHTUNGEN ZUR SITUATION IN UNGARN VOR UND NACH 1945

100%
Born R.
ARS
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2015
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vol. 48
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issue 2
160 – 178
EN
Renaissance, and especially the figure of Matthias Corvinus, represents from the beginning to the national emancipation in the late 18th century, an important unit in the public perception and later in the state politics of history. In addition to focusing on their own national cultural heritage that plays also an important role the view of the development of Renaissance art in various regions of Southern and Western Europe. The article tries to contextualize the art historiographic positions in Hungary in 1948-1989. In the interwar period, the foundations for two movements were laid.
5

RENAISSANCE IST EIN FREMDWORT. DIE MARXISTISCHEN GESCHICHTSSCHREIBUNGEN OSTMITTELEUROPAS AUF DER SUCHE NACH „FORTSCHRITTLICHEN TRADITIONEN“

100%
Górny M.
ARS
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2015
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vol. 48
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issue 2
136 – 144
EN
The main role of the loyal Stalinist historians in Central and Eastern Europe consisted in accepting of the Marxist-Leninist methodology by Soviet historians and in creating an image of history, which would re-interpret the national history in spirit of Marxism. This new interpretation has been presented mainly in university textbooks and historical journals. The paper focuses on the privileged status of "national traditions" in the Marxist historiography in relation to the age.
6
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GOING BEYOND THE NORM OF THE RECITATIVE IN ITALIAN 'DRAMMA PER MUSICA' 1600-1640

100%
Szweykowski Z. M.
Muzyka
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2006
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vol. 51
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issue 3(202)
3-26
EN
In the Italian 'dramma per musica' 1600-40, the basic means of producing melodic contour was the recitative. It comprised about eighty percent of the musical course of the composition. From the beginning of the genre's existence, composers had been introducing fragments consisting of a few bars which, being contradictory to the premises of the genre of recitative, disturbed its course. In musicological literature such fragments are sometimes called 'arioso', although one does not encounter such a description used as a term in the Italian 'dramma per musica' in the seventeenth century. However, those fragments which disturb the course of the recitative contribute towards the formation of features of the future arioso. Additionally, they result in an enrichment of the effects of the musical language of comic heroes. The process comes to be initiated in the period under discussion. The present article (which is a fragment of a book in preparation about the beginnings of 'dramma per musica' in Italy) presents its features on the basis of a number of examples. The disturbances in the course of the recitative are not motivated by purely musical considerations and introduced in freely chosen fragments, but in places where this is justified by the dramatic action. Their melodics is often little different from the recitative proper (frequent repetitions of a sound); in consecutive decades they become more differentiated. In general they are treated syllabically, but both little grazie and gradually increasingly expanded coloraturas are being introduced. Repetition of words not required by the rhetoric but on purely musical grounds becomes admissible. At times melodics is linked with triple metre or mobile basso continuo. This last is treated in two ways; at the beginning of the century it moves in longer values, not being very different from the basso continuo of the recitative. However, more typical here is the mobile basso continuo, differentiated both in terms of rhythm and melody. Going beyond the norms of the recitative, the metre in the fragments under discussion may be both duple and triple. In the latter case, the basso continuo may rhythmically double the vocal part
7

PRINCÍPY HORIZONTÁLNEJ (MELODICKEJ) KONŠTRUKCIE V DIELE ARVO PARTA: FRATRES

100%
Ferková E.
Musicologica Slovaca
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2010
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vol. 1 (27)
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issue 2
272-282
EN
By analysis of Arvo Part’s composition Fratres one can show the stylistic permeation of the Renaissance contrapuntal organisation of polyphony, evidencing features of bitonality and bimodality on the one hand, and on the other hand features of the modern employment of several constructive approaches and principles, expressed in a diatonic setting, a variant form and rhythmic series.
8

ERWÄGUNGEN ZUR INTERPRETATIONSMÖGLICHKEIT DER WANDMALEREI. AM BEISPIEL DER STANZEN IM VATIKANISCHEN PALAST

88%
Žuchowski T. J.
ARS
|
2011
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vol. 44
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issue 2
194-214
EN
The article analyses the so-called Vatican Stanze, an exceptional ensemble for researching the phenomenon of wall painting. Sala di Costantino, Stanza di Eliodoro, Stanza della Segnatura a Stanza dell’Incendio, painted mostly in the years 1508 – 1524, offers the possibilities to analyse individual paintings and decorative programs as well as the complicated relation among them.
9
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Epitafní obraz s Alegorickým ukřižováním ze sbírek Slezského zemského muzea a manýristické malované epitafy českého Slezska

88%
Jakubec O.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
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2010
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vol. 1
|
issue 1
41-54
EN
The contribution focuses on the file of late Renaissance painted epitaphs from the historical territory of the so called Bohemian Silesia, though there is a range of monuments of unclear provenience. Nevertheless, they can be connected with Silesian environment being connected with specific iconography comprising mainly the motive of Allegorical Crucifixion. This unequivocally points at commemorative and representative monuments as well as peculiar 'confessional media', referring about the confession of its customers. Therefore it appears that so far used predominantly formally-analytical approach to these problems requires also examining even the complex social background of epitaph monument, which often speaks in their iconographic themes with distinct confessional language.
10
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DUCHOVNÉ CESTY V KATALÁNSKEJ POÉZII NA PRELOME 19. A 20. STOROČIA (OD JACINTA VERDAGUERA K JOANOVI MARAGALLOVI)

88%
Bojničanová R.
World Literature Studies
|
2014
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vol. 6 (23)
|
issue 1
47 – 63
EN
The present article reflects on spiritual themes in Catalan poetry at the end of the 19th century and the beginning of the 20th century, focusing especially on the works of the two major poets of the Catalan cultural renaissance, from its initial stages in the person of Jacint Verdaguer (1845-1902), to its pinnacle represented by Joan Maragall (1860-1911). Our comparative study analysis selected later poems by both writers, works of maturity dealing with man ś relationship to the world around him, his own earthly existence, and especially to God. These two poets address the dilemma between earthly and eternal life, urged by the persistent idea of inevitable death. Their different ways to communicate with God and solve this issue are determined by not only a general transformation of society ś mentality, but, as it becomes especially obvious, the diverging human personalities of the compared writers. The works of these two founding figures of modern Catalan poetry exemplify the changes in human experience as well as in literary expression and of the spiritual perception during the formative period of the modern Catalan nation.
11

Comoedia tragica, sacra et nova, czyli łacińska komedia religijna Renesansu

88%
Budzisz A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2010
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vol. 20
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issue 1
33-42
EN
The paper's main task is to investigate the reception of the ancient dramatic models in Renaissance. In many plays some biblical themes acquired a literary form of comedy in spite of fact that ancient comedy, unlike tragedy, as characterised by a 'secular' matter. The authors pointed to their Roman models, Plautus and Terence. The purpose of the play was responsible for its shape and was decisive for the choice of the appropriate ancient model.
12

OSOBNOSŤ ISABELLY D´ESTE GONZAGA NAHLIADANÁ CEZ PRIZMU DOBOVÉHO KONTEXTU A LISTOVEJ KOREŠPONDENCIE

88%
Šavelová M., Rusnáková N.
Studia Historica Nitriensia
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2021
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vol. 25
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issue 2
393 - 407
EN
Isabella d’Este (May 17, 1474 in Ferrara, Italy – February 13, 1539 in Mantua, Italy) was an important female protagonist of the Italian Renaissance, often referred as the “Lady of the Renaissance”, “Daughter of Humanism”, “the First World Lady”. This study aims to bring closer the ruler who influenced (especially Italian) history in diplomacy and politics, but was also a major figure in the collection of art and patronage of authors such as Titian, Leonardo da Vinci, Raffaello Sanzio and others. The study reflects the period context and at the same time looks at the importance of the Renaissance female intellectual through the prism of her personal and public correspondence available in the Italian state archives (Mantova, Ferrara, etc.), pointing to the growing importance and interest in digitized authentic materials.
13
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ARTISTIC WORD IN RENAISSANCE (Umelecke slovo v obdobi renesancie)

75%
Cajkova J.
Slovenské divadlo (Slovak Theatre)
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2009
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vol. 57
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issue 2-3
152-159
EN
The beginning of Renaissance in Europe goes back to the 14th century. The territory of present Slovakia was observed by certain refinement of customs and the advancement of the culture life of the Hungarian society under the reign of Louis I the Great (1342-1382). The laudation of combativeness, the patronage of justice and truth, the protection of the weak and allegiance were the dominating themes of heroic and historic songs of minstrels, and the enchantment by beauty and by virtues were the themes of the songs of troubadours, trouveres, and minnesingers. They were a component part of noble and town culture in the 14th and even the 15th centuries. Humanistic society and literary circles contributed markedly to the elevation of culture and the shaping of the intellectual elite of Renaissance Hungary. These men built on the activity of the European 'Devotio moderna' movement, which stressed individualism and mysticism in religiousness, education and inner spiritual culture. In Christian rite the manner of preaching was determined in the past, but even there, novel features were introduced thanks to continuing development. 'Spis Prayer Sermons' (1479) have given an insight to the language and speech culture in communicating the message of God to the congregated believers in the Slovak language in Eastern Slovakia churches.
14

ELIÁŠ BERGER (1562 – 1644), CISÁRSKY HISTORIOGRAF A POETA LAUREATUS

75%
Frimmová E.
Historický časopis (Historical Journal)
|
2014
|
vol. 62
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issue 3
393 – 413
EN
Eliáš Berger from Grünberg (1562 Brezno – 1644 Skalica) worked as a historian at the court of the Emperor Rudolf II and later of Mathias II of Habsburg. He also engaged in politics. Great socio-political interest in support for the Archduke Mathias and his power-political ambitions with the aim of calming and improving the domestic situation and strengthening pro-national feelings in the Kingdom of Hungary united various representatives of the aristocratic families and important humanists at the beginning of the 17th century. Berger cooperated in these aims with his literary work, together with Stephen Ilesházi and Peter Révai. The literary output of Eliáš Berger is remarkable from 1600 – 1638. He wrote 20 larger works as well as shorter literary texts. Above all, he helped to influence political and social developments with his historical and political writing.
15
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KACHLICE S MOTÍVOM SVÄTEJ MARGARÉTY Z OPONICKÉHO HRADU

75%
Jančiová B.
Študijné zvesti
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2020
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vol. 67
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issue 1
141 - 158
EN
Stove tiles with the motifs of Saints with their typical attributes under the Gothic vault appear on the extensive territory of the northern part of the Carpathian Basin. Their production in the last quarter of the 15th century was concentrated in the manufactory in Banská Bystrica, which ceased to exist in the fire of the town in 1500. According to the latest findings, the so-called Banská Bystrica type of stove tiles also appears in the following period. This means that the production of the manufactory either continued after the fire, or the manufactory controlled the stove production of smaller local workshops in the wider range. New findings of the stove tiles with the depiction of St. Margaret were found during the excavations of the Oponice Castle. The aim of the paper is to include them into the series of Banská Bystrica Saints, to evaluate the current state of research and to introduce a new perspective on the issue of stove tile production.
16

Praktyka i wiedza z zakresu zarządzania w średniowieczu i epoce odrodzenia

75%
Beliczyński J.
Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie
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2012
|
issue 896
157-176
EN
The article presents, in chronological order, the dominant directives and reflections on the organisation of work, management, decision-making, effective functioning, leadership, strategies, quality and accountancy in the Middle Ages and Renaissance. The topic is introduced with a discussion of the forms of organising collective work and how issues of quality were approached in these two epochs. This is followed by an overview of Arab thought on strategy and the functioning of organ isations as well as European thought and literature on organisation and management. The author discusses why management science could not have developed without scientific research methods. The paper ends with a look at Poland’s contribution to the development of organisation and management in the two periods.
17

Muzejs muzeja

75%
Lancmanis I.
Makslas Vesture un Teorija
|
2013
|
vol. 16
58-65
EN
On 24 May 2012 a poster ‘From the Gothic Style to Art Nouveau’ appeared in the west-side staircase vestibule of Rundale Palace, next to the entrance door to the west-side block. Behind that door, a quite dark and mysterious world opens up, very different to the light and playful environment of the Palace designed by Rastrelli. Museum staff have named this new exposition rather conventionally – DEKO. Decorative arts are always placed behind their nobler sisters as the fine arts are thought to top the hierarchy. Nevertheless, decorative arts have been most closely related to people’s daily life. In Latvia, much evidence of our cultural history has perished as a result of wars, revolutions and social transformations. Not all European countries have a special museum of decorative arts, but in Latvia the chance to see close-up examples of canonical historical styles is even more limited. Already in the 1960s there was the idea to create a chronologically and stylistically arranged exposition of decorative arts in the Rundale Palace Museum. Besides purchases from antique shops and loans from other museums in Latvia, another way to enrich the collections was taking over items from the churches of Latvia; their tragic fate in the conditions of Soviet occupation became even worse after the ideological action of 1961 when congregations were liquidated. Apart from wood-carved altars, pulpits, benches, sculptures, altarpieces and votive plaques, the Museum also received many silver and tin items, and they did fit well with the idea of a future exposition of decorative arts. Besides churches, the Museum also systematically inspected manor houses. Much was salvaged from these too at the last moment – stoves, doors, parquetry, decorative reliefs or metalwork fittings. Already then it was evident that all this should be part of the future exposition. The DEKO exposition envisages demonstrating all historical styles from the 15th century till World War I in fourteen rooms, beginning with late Gothic and ending with Art Nouveau and Neo-Classicism. The idea is to show both the major line of stylistic development in Western Europe and the reflection of these styles in Latvia.
18

THE WHITE PALACE OF VECGULBENE MANOR - ITS BUILDERS, ARCHITECTS AND FORTUNES (Vecgulbenes muizas Balta pils: celeji, arhitektura un likteni)

63%
Zilgalvis J.
Makslas Vesture un Teorija
|
2009
|
vol. 12
22-26
EN
Vecgulbene (Alt-Schwanenburg) manor is situated in Gulbene District within the territory of the town of Gulbene, which has been a crossroads since ancient times. The manor is known as one of the most prominent and splendid ensembles in Latvia and possibly in the Baltic region. This place suffered considerably during the wars and the Soviet period. Construction and reconstruction of the so-called White Palace at 12 Brivibas Street has been dated differently by various sources. First it was stated that the central part had already been built in 1763 and reconstructed in 1840s-1870s. Art historian Dainis Brugis holds that the Palace was built around 1840, which seems to be a more plausible version; construction was carried out by the Wolff family, possibly by Rudolf Gottlieb Magnus von Wolff (1809-1847) and entries in his daughter Isabella's diary attest to this. Rudolf von Wolff had traveled to many countries including Italy. The style of Italian villas evident in the White Palace surely comes from Rudolf's taste and interests. The Palace was inherited by Rudolf's son Johann Heinrich Gottlieb von Wolff (1843-1897) who reconstructed and enlarged the building in the last quarter of the 19th century. The architecture of the Palace was influenced by the Renaissance. The project resembles the Renaissance villas found among Andrea Palladio's works. The central two-storey block was almost cube-shaped and flanked by single storey wings at both ends. The façades were lavishly decorated. The central volume featured wide, fluted colossal order pilasters; triangle-shaped, plastic frontons were placed over the ground floor window openings.
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