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1

ROMANTICISM AND/OR/CONTRA BIEDERMEIER?

100%
Turecek D.
Slovenská literatúra (Slovak Literature)
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2005
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vol. 52
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issue 4-5
243-251
EN
The term Romanticism presents a traditional way of inner structuring and explanation of the history of Czech literature of the 19th century, but this term has been used differently in particular literary historical concepts. The pluralistic concept of Romanticism has not had a firm position in the Czech literary historical context, which is contrarily to the Slovak concept represented by O. Cepan and P. Kása. In the Czech concept Vodicka's model is used, designating the works of Jungmann's generation as Pre-Romanticism and limiting Romanticism as its subjective, Mácha's variant. The character of the true Romantic texts does not prove this limited conception. These texts were written in the second period of the national revival but some Romantic features also appeared in the works with syncretistic character, connecting for example Romanticism and Classicism. Biedermeier was understood by the Czech literary historians in the latest years as a negating 'contrafacture' of Romanticism and was used as a synonym for a part of work of the 30s called in the Vodicka's concept 'convergion of literature and life'. The translation of German sentimental tragedies of the 20s and the 30s of the 19th century has shown that axiological horizon, basic groups of motives and also typical poetics of Biedermeier have been well known in the Czech environment since the 20s. There were elements of subjective Romanticism co-existing here. Since the 19th century the mutual proportion between the Romanticism and Biedermeier has changed in the Czech culture from a complementary belonging to polemic contradiction. In a modern concept of Czech literature it would be useful to accept the thesis of P. Zajac about pulsating, synoptic character of literary processes as well as to use and in maximal possible measure to extend a subject field of validity of Cepan's concept of Romanticism as an innerly pluralistic, open structures with wide transitionary zones and possibilities of convergence and meeting with phenomena of different nature.
2

IN BETWEEN GENRES OF TRACT AND NOVEL

100%
Brtanova E.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 5
338-346
EN
The important poetic work of the Slovak classicist literature 'Memorial Tragedy for the Entire World' (1791) has been in the literary historical interpretations typically connected with a genre of 'debat' tract. The aim of the study is to show that this generic determination does not correspond with the former purpose of the author to write a novel. He expressed that intention also in the foreword to the book. It neither corresponds with the all intention of the work. The authoress' polemics with the other interpreters of the generic character of 'Tragoedie' (Memorial Tragedy…) methodically comes from an analysis of its content taking into consideration interpretation of substantial features of tract as a genre and also reflection of contemporary conceptions and comprehension of genres. The character of 'Tragoedie' (Memorial Tragedy…) fits much more with genre of novel mainly because of signs such as fictive character, concentration on cultivating a reader to get common overview and stressing amusing function of the text. It is possible to find connections with the contemporary 'Bildungsroman' of the 'debat' form. As for stressing persuasiveness that is quite significant in some parts of the book it also speaks about literary application of 'tractandi' form using different kinds of arguments (not only of non-fictional character). The authoress prefers the interpretation of 'Tragoedie' (Memorable Tragedy…) as a 'debat Bildungsroman' to assumptive canonisation of the previous objectively inadequate literary historical interpretations.
3

CHRISTOPH HABERLAND AND THE RIGA CITY LIBRARY (Kristofs Haberlands un Rigas pilsetas biblioteka)

100%
Lancmanis I.
Makslas Vesture un Teorija
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2007
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vol. 8
54-61
EN
The article traces the construction history and related events surrounding the Riga City Library designed by the prominent architect Christoph Haberland. It is an outstanding example of Classicist interior, now a highlight of the Riga Museum of History and Navigation.
4

Antiquity in Warsaw's Królikarnia. Architecture and artistic collections

100%
Jaworski P.
Rocznik Historii Sztuki
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2004
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vol. 29
203-239
EN
The palace and garden complex of Warsaw's Królikarnia, built for an influential member of the Royal Court - count Karol Tomatis - is recognized as one of the most important works of Polish classicist architecture, erected during the reign of King Stanislaw August Poniatowski. A characteristic Palladio's profile of the palace and the building of the kitchen in form of a Roman tomb of Caecilia Metella, built according to a design by Domenico Merlini - an architect connected with the King - are commonly recognized as the symbols of the residence. During over two hundred years of its history Królikarnia belonged in turn to the aristocratic families of: Tomatis, Radziwill and Puslowski. Inside the palace its owners gathered valuable artistic collections.The artistic heritage of Antiquity influence of which - direct or through the Palladian's tradition - could be traced in the layout of the palace and garden complex, was reflected mainly in the architecture of the kitchen building, and also in the ancient or ancient-like decoration of both the kitchen and palace.The building of the kitchen in Królikarnia, modelled on the tomb of Caecilia Metella, is a unique work of architecture and has no equal predecessors in the architecture of European Classicism. The building offered architects a model worth emulating, although it was its original location and surprising idea of placing the kitchen in an ancient tomb that made this building so popular in Poland and even created a trend toward imitation of its Roman prototype. Anyway, only about few ancient buildings there could be said - like in the case of the Caecilia Metella Tomb - that they made a career in the Polish architecture. In no other country had the architecture of 'Capo di bove' so many imitations.In 1816 Królikarnia was chosen as the main residence, in which they wanted to spend the last years of their life, by Michal Hieronim Radziwill and Helena from the Przezdziecki family, the owners of Nieborów and Arkadia. They brought to the new place their impressive artistic collections gathered previously - in which the Antiquity occupied a special position - as well as fitting the palace with new objects making up a set of a specific decorative and symbolic significance including the replicas and imitations of the ancient sculptures. After the death of the last governor (wojewoda) of Vilnius, Królikarnia became for his heirs a place of gathering the precious Radziwill's collections, including the part of the ancient or ancient-like furnishing of Arkadia. The activity in Królikarnia of Alexandra Radziwill nee Stecka who ordered to place on the kitchen building the reduced inscription from the tomb of Caecilia Metella directly referred not only to the ancient model but also to the tradition and history of Królikarnia and to life and performance of Helena Radziwill. 22 Illustrations.
5
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Hume and the Question of Good Manners

100%
Stanek J.
Estetika: The Central European Journal of Aesthetics
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2009
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vol. 46
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issue 1
29-48
EN
The question of manners is important in David Hume's examination of human nature primarily because of the weight he assigns to the so-called 'social virtues'. Man is, for Hume, a being that naturally tends to form societies, and the study of human nature is, after all, the study of human sociability, which finds its expression in manners. The present paper shows Hume as a participant in the seventeenth and eighteenth-century discussion about the concept of politeness, a concept which oscillated between the domain of manners and morals and the domain of art. The examination of Hume's ideal of polite manners illustrates the way his classicist taste pervaded the appreciation both of works of art and of social comportment.
6

Public Body:The Idea of Civilized Association in the Age of Classicism

100%
Zaleski P.
Studia Socjologiczne
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2005
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issue 3(178)
35-63
EN
According to discourse analysis of classicist writings, the reception of Ciceronian concept of 'societas civilis' at that time should be understood as 'civilized association', a political body aimed at resolving conflicts among aristocracy, including king as primus inter pares. State of association or civility was confronted with wild and barbaric state of nature, whose discomfort and dangers moved people towards establishing political i.e. 'public body', as their understanding of concept of res publica should be understood. New concepts were applied as conceptualizations of new political situation of aristocracy within absolutist states. This semantic application stems from troublesome times of Thirty Years War and simultaneous Civil War in England and Fronde in France – the last aristocratic revolutions against territorially consolidating classicist state.
7
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VERSAILLES – ARCHITEKTONICKÝ A UMELECKÝ SKVOST ĽUDOVÍTA XIV

100%
Kniezová M., Pecníková J.
ESPES
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2014
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vol. 3
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issue 1
11 – 18
EN
The article is focused on one of the largest and the most glorious jewels of world architecture – Palace of Versailles. This place is famous not only for the architectonic and decorative components, but also for a very special life style around the king, which is connected with this place. In the article we are orientated on the architectonic and artistic aspects of Versailles, especially on the baroque and classical forms.
8

THE MYTH OF EMPTY PREMISES, OR POLYCHROMY IN CHRISTOPH HABERLAND'S INTERIORS (Tukso telpu mits, jeb polihromija Kristofa Haberlanda interjeros)

88%
Strupule V.
Makslas Vesture un Teorija
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2003
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vol. 1
42-49
EN
The last quarter of the 18th century brought about great changes in the history of Riga. During these twenty five years many old Gothic houses with their narrow, high gables were replaced by lofty buildings of Classicism. Almost all this time the chief architect of the city was Christoph Haberland (1750-1803). In the 20th century the opinion prevailed that, besides the grand plastic decoration of the parade hall interiors in Haberland's buildings, the rest of the rooms have been sparsely, even poorly finished. Such a conclusion can be drawn because researchers have looked only at the plastic decoration of interiors that has better stood the test of time. However today the results of the architectonically artistic research allow to dispute such a viewpoint. The colour remnants have shown that a similarly grand impression was created on the plane - only by means of colour. Well-known examples of Haberland's plastic parade hall interiors of found in the houses at Skunu Street 17, Kungu Street 1 and Jaunavu Street 3. They have refined, abundantly detailed relief decors. In all these objects interiors give the impression of a classical temple rather than that of a living space. The main principles of Haberland's interiors are the following. The relief and painted decoration often supplement each other - like a painted column 'supporting' a real cornice. Another way of interaction - painted shadows increase the sculptural effect of relief details; the polychrome ornament can replace the relief and create the same impression of splendour. Most often the compositional scheme was based on the 'system of frames'. In living rooms or bedrooms it can appear in a pure way - with a separate part of socle and right-angled panel frames which mark out the upper part of the walls. In the rooms of representation this scheme could be supplemented with floral motifs or architectural details such as columns, pilasters and rich sopraporta compositions. For the most part, the substance of walls was emphasised by painted architectural decoration.
9

Filón de Biblos y la imaginación literaria: la naturaleza retórica de la Historia fenicia

88%
RODRÍGUEZ HORRILLO M. Á.
Eirene. Studia Graeca et Latina
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2012
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vol. 48
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issue 1-2
162-174
EN
The fragments of Philo’s 'Phoenician History' have a content that the research on Eastern mythologies seems to confirm. However, the way in which Philo affirmed he found such information, as well as the euhemerist perspective the fragments present, have led no little suspicion about its authenticity. In order to clarify this paradox, we explore the literary nature of these fragments, trying to link these fabulous features to the literary essence of historiography in this period, in which accurate information could be presented as invented. The examination of the style led us to conclude that it imitates the features of the archaic Greek literature, in order to recreate the great literature of other times creating something new. Also, the fabulous circumstances of the discovery of the lost work of Sanchuniathon acquire their significance as a literary prologue that facilitates the reader’s understanding of the two-level lectures that presents the 'Phoenician History'. So, Philo creates a literary work that imitates the stylistic characteristics of the ancient Greek mythical genealogies, also presenting genuine contents of the Eastern mythology.
10

THE RELATIONSHIP OF WORD AND PICTURE IN DOLEZAL´S TRAGEDY (Vztah slova a obrazu v Dolezalovej Tragoedii)

88%
Brtanova E.
Slovenská literatúra (Slovak Literature)
|
2010
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vol. 57
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issue 3
201-210
EN
In the 18th century the authors created platform for a reader to interact in the sphere of visual conceptions. A good example of it is an epic composition Pametna celemu svetu Tragoedia by Augustin Dolezal (The Tragedy, Remembered by the Entire World 1791). Dolezal's literary and linguistically work has also visual dimension. In the chapters dedicated to everyday life (inhabitants and the concept of the earthly world) there is an evident inspiration from Comenius, from his concept of a visible world (Orbis pictus). Dolezal reflected contemporary architectonic art (description of Eden is like a French park) and also portrait fine arts (portrait of a landlord from Liptov). There are also evidences of using the emblematic poetics (so called 'nuda emblemata'). The signal of visualisation appears in description of the world of craftsmen through distinctive poetic adjectives, which are not a sign of classicistic norm, but of new aesthetic paradigm.
11

Stikla lustre no Asares baznīcas kā viens no angļu stikla lustru tipa piemēriem Latvijā

75%
Budže K.
Makslas Vesture un Teorija
|
2021
|
vol. 25
19-28
EN
The glass chandelier from Asare Evangelical Lutheran Church is one of the few examples of English-style glass chandeliers that have come down to us in Latvia. The chandelier was probably made in Bohemia in the early 19th century. It is a single-level chandelier with a framework supporting glass arms with twelve candles. The upper part of the chandelier is enhanced by a glass canopy with small strings of glass beads. A peculiar element of the chandelier’s composition is a basket formed by rings filled with quadrangular glass beads and hung in glass bead strings. Today the chandelier is located in Rundāle Palace Museum. It received this object from the elder of the Asare Evangelical Lutheran Church in 1975. The museum’s restorer Maija Baņķiere (1938–2021) carried out the restoration works. The chandelier is now exhibited in the First Study of the Duke in Rundāle Palace. English-style chandeliers were also crafted in Bohemia. They were exported not only to different European countries but to England as well. Bohemian-made chandeliers were cheaper and conquered the market quickly. The so-called Northern German lands, including the present-day Latvia, were among the most favourite customers of Bohemian glass items since ancient times. The glass chandelier from Asare Evangelical Lutheran Church is a Bohemian-made English-style piece as well. Its composition and decorative cut of glass details is typical of English glass chandeliers. Particularly English in style are the upper canopy-shaped details and the vase-like, richly cut details strung on the stem of the chandelier. However, the quality of glasswork and the material itself is lower in comparison with chandeliers made in England. Also, the arm plate from which the glass light-bearing arms branch out is made of wood in line with the Bohemian tradition. The English-style glass chandelier probably did not end up in Asare Church because someone deliberately and purposefully followed English late 18th to early 19th century traditions of decorative art. However, it is an example of 18th century English-style chandeliers in a small rural church and evidence of the European-wide fascination with English culture and its decorative arts, purchased and imitated elsewhere too.
12

OSVIETENSTVO A KLASICIZMUS V DIELE JURAJA ROHOŇA

75%
Babiak M.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 5
488 – 496
EN
The poet, national revivalist, folk songs collector, and evangelical pastor Juraj Rohoň (1773 – 1831) was active among Slovaks inhabiting the area of today’s Serbian Vojvodina from 1795 until his death. His literary activity can be reflected in several ways: he was a poet in the Classicist style, author of texts aimed at defending and highlighting the contribution of Slovaks to the social and national life in Hungary, and he also made a significant contribution to the collecting of Slovak folk songs for Ján Kollár’s project Národnie spievanky [National songs]. In all of Rohoň’s works one can find echoes of Enlightenment views and 18th century Enlightenment philosophy. The article analyses the relationship between the impulses of Enlightenment ideas and the literary works in which these impulses resonate and points to the overlap of the tendencies in question towards pre-Romanticism, focusing on works that highlight the category of the nation and also on the question of the historical development and presence of Slovaks/Slavs in history.
13

Varaklani - muiza un tas saimnieki gadsimtu gaita

75%
Zilgalvis J.
Makslas Vesture un Teorija
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2013
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vol. 16
33-36
EN
The town of Varaklani in Latgale stands out with its several significant monuments of Classicist architecture. These are the manor palace, Catholic Church and the Borch family vault. The spacious manor park is also one of the town’s highlights. The Borch family was known in the Baltics already in the 2nd half of the 15th century. Varaklani Palace construction was initiated by M. J. Borch and designed by Italian architect Vincenzo Mazotti. The Palace is an outstanding early example of Classicism in the architecture of Latvia. The building that was constructed from 1783 to 1789 has an elongated appearance - it consists of three two-storey blocks linked by single-storey blocks. The central part of the Palace is much larger than the side blocks having just one gallery axis. The middle part of the building has very protruding risalites on the park side and the centre is emphasised by an impressive four-column portico. The courtyard façade is less splendid and plastically subdued; central risalites protrude slightly and are capped by a raised part identical to the wing blocks. Peculiar porches are still visible by all three entrances; a balcony with metalwork railings is placed over the main entrance. The façades are decorated with Tuscan order pilasters; the first floor has rustication but the friezes contain inscriptions in Latin. The Palace layout is unique in Latvia. Staircases to the second floor are located on both sides of the main block. Opposite the vestibule there is a quite small premise leading towards the terrace on the park side. The single-storey connecting parts are interesting with their small, light, rubble-decked yards. The appearance of Varaklani Palace has changed over time. In Poland there are several manor palaces similar to Varaklani with regard to the architectonic and spatial solution for instance, in Kustyn (last third of the 18th century), Walewice (1783) and in Szczawin. Murals discovered in the 1990s and later testify to the artistic finish inside the Varaklani Palace.
14

THE MOST PROMINENT EXAMPLES OF DUTCH CLASSICIST ARCHITECTURE IN RIGA: REUTERN HOUSE (Holandiesu klasicisma arhitekturas spilgtakie piemeri Riga: Reiterna nams)

63%
Ancane A.
Makslas Vesture un Teorija
|
2007
|
vol. 8
5-14
EN
Stylistic description of the most excellent examples of Riga 17th century architecture in art literature, including Reutern House, is often limited to ascribing them to Baroque. When describing the style, one should refrain from strict classifications as both classicised Baroque and Classicism of the Baroque epoch may be involved. Nevertheless, remembering the typical formal features of Dutch Classicist or Palladian architecture, it would be more appropriate to consider it as a specific Northern European phenomenon, a very pronounced expression of Classicism within the chronological boundaries of Baroque. Compared with the works of Northern Dutch classicists, one of the typical features of Reutern House is the emphasised contrast between the smooth, classicist-type façade solution and the finish of the entrance portals. Reutern House was a quite ambitious project for the 17th century Riga town environment; it can be described as an outstanding example of Dutch Classicism, coinciding with Philips Vingboons' and Pieter Post's architectonic heritage and similar architecture in Stockholm, Reval (Tallinn) and Narva. The local specificity of Riga Palladianism consists in the presence of definitely Baroque elements in the façade finish - more than in Holland itself. The innovative contribution of master Rupert Bindenschu to the new-style dwelling houses should not be underestimated. Bindenschu's style was strongly influenced by the Dutch architects' constructive principles. The town's cultural environment was largely shaped by its links with Sweden and the political and economical background, but in Bindenschu's case, it seems direct links with the Dutch architectural heritage were involved.
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