scholarly journals «HAMLET» BY WILLIAM SHAKESPEARE IN THE TRANSLATION AND CREATIVE UNDERSTANDING OF THE UKRAINIAN WRITERS OF THE NINETEENTH CENTURY

2020 ◽  
Vol 1 (17) ◽  
pp. 86-91
Author(s):  
Olesya Minenko
Keyword(s):  
Nineteenth Century ◽  
William Shakespeare ◽  
Cultural Revival ◽  
Complete Uncertainty ◽  
Literary Evolution ◽  
Deep Layers ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Xix Century ◽  
Different Cultures

The article is devoted to a detailed analysis of the translations of the tragedy «Hamlet» by William Shakespeare in the context of the aesthetic views of Ukrainian writers of the nineteenth century. The idea that synchronous and diachronic consideration of the literary evolution of Hamlet’s image demonstrates the emergence of Hamletism as a certain aesthetic category is justified. A comparative analysis of the translations of Hamlet by Ukrainian authors was carried out. On the basis of research, it is established that the translator, as well as the reader, finds itself «between» texts of different cultures and literatures, that is, in a situation of complete uncertainty, cultural «border», by performing a double hermeneutic act of «decoding» «one’s» and «another’s» tradition available in the original and in its translation. The author concludes that Shakespeare at the world-philosophical level was close to the Ukrainian translators of the XIX century: the writers considered in Shakespeare’s works a timeless universality and a prehistoric dimension of the human personality, a peculiar human «monad», which can be different in different ways. It was observed that Ukrainian translators are united not only by language innovation, the attraction of deep layers of the Ukrainian language, but also the sole purpose – the cultural revival of the state through the revival of the language.

scholarly journals SLAVIC MOTIFS IN AUSTRIAN LITERATURE OF THE NINETEENTH CENTURY

2021 ◽  
Author(s):  
A G. Loshakova ◽  
Keyword(s):  
Nineteenth Century ◽  
Mutual Influence ◽  
Habsburg Empire ◽  
Literary Works ◽  
Austrian Literature ◽  
Xix Century ◽  
Different Cultures ◽  
Integral Feature

Austrian literature was formed in the process of forming a multinational state. The mutual influence and interrelationship of different cultures was its integral feature. The Slavic "substratum" (A.V. Mikhailov) becomes an important sub-base of literary works of the XIX century. Fr. Grillparzer and A. Stifter create a utopia of a state in which both Germans and Slavs can live in friendship and harmony. Ch. Silsfield carefully studies the place of the Slavic peoples in the Habsburg Empire. F. von Zaar dreams of popular harmony in Austria at the end of the XIX century.

Functional and aesthetic transformation of industrial into housing spaces

2019 ◽  
Vol 17 (4) ◽  
pp. 401-416 ◽  
Author(s):  
Ana Stanojevic ◽  
Aleksandar Kekovic
Keyword(s):  
Urban Areas ◽  
Physical Structure ◽  
Industrial Building ◽  
Single Family ◽  
Industrial Heritage ◽  
Industrial Buildings ◽  
Industrial Architecture ◽  
Research Goal ◽  
The Aesthetic ◽  
Xix Century

Buildings preservation by the conversion of their function has become a domain of interest in the field of industrial heritage. Due to the need to expand existing housing capacities in urban areas, a large number of industrial buildings are nowadays converted into multi-family and single-family housing. The paper deals with the analysis of the functional and aesthetic internal transformation of industrial into housing spaces. The research goal is to determine the principles of conceptualization of housing functional plan within the framework of the original physical structure of the industrial building, at the architectonic composition level and housing unit (dwelling) level. Besides, the paper aims to check the existence of common patterns of the aesthetic transformation of converted spaces, examined through three epochs of the development of industrial architecture: the second half of the XIX century, the first half of the XX century and the post-WWII period.

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective

2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton
Keyword(s):  
Nineteenth Century ◽  
Industrial Sector ◽  
Critical Discourse ◽  
Drawing Board ◽  
Public Exposure ◽  
Production Practices ◽  
The Aesthetic ◽  
The Relationship ◽  
Two Sectors

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.

scholarly journals CULTURAL AND EDUCATIONAL MISSION OF MYKHAYLO VERBYTSKY IN THE CONTEXT OF NATION-BUILDING

2020 ◽  
pp. 77-81
Author(s):  
Ludmyla Sorochuk
Keyword(s):  
Catholic Church ◽  
Social Activity ◽  
Cultural Revival ◽  
Educational Mission ◽  
Democratic Development ◽  
National Anthem ◽  
The Social ◽  
The Creation ◽  
Xix Century ◽  
Important State

The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.

scholarly journals SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX

2020 ◽  
Vol 13 (1) ◽  
pp. 23
Author(s):  
José Luís Postiga
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Religious Practices ◽  
The West ◽  
Communicative Practice ◽  
Musical Concepts ◽  
Musical Works ◽  
The Aesthetic ◽  
Different Cultures ◽  
Western Classical Music

When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

scholarly journals «GERMAN GRAMMAR» BY JACOB GRIMM AND SCHOOL GERMAN GRAMMAR BOOKS IN THE NINETEENTH-CENTURY GERMANY

2020 ◽  
Vol 23 (4) ◽  
pp. 121-127
Author(s):  
Oleg V. Lukin ◽  
Keyword(s):  
Nineteenth Century ◽  
Secondary Schools ◽  
Native Language ◽  
German Language ◽  
Linguistic Research ◽  
Scientific Approach ◽  
The Matrix ◽  
History Of Linguistics ◽  
History Of ◽  
Xix Century

The article is devoted to the place of J. Grimm's «German grammar» among school German grammar books of the XIX century Germany. The work that appeared at the beginning of the century opened a new page in the history of linguistics – the development of comparative historical language study and the formation of linguistics as a science. The paper provides information on some of the most important German grammar textbooks in Germany of the XIX century, used in secondary schools. They were grammar books by J. Ch. Gottsched, J. Ch. Adelung, J. Ch. A. Heyse, J. G. Radlof, S. G. A. Herling, F. J. Schmitthenner, M. W. Götzinger, etc. The author of the article compares J. Grimm's «German grammar» with the above-mentioned grammar works of that time and puts forward a hypothesis that in the XIX century Germany there appeared an opposition between scientific approach to grammar and that of school grammar books, which, according to the author, reflects dramatically different goals set by both sides. Unlike school textbooks which task is to consistently initiate students into the system of their native language, often on the basis of the matrix created by Alexandrian grammarians, scientific grammar is based on the results of linguistic research and seeks to answer questions about language phenomena. J. Grimm rejected any normative grammar based on logics, that resulting in the aversion on the part of the pedagogical community. Nevertheless, the publication of «German grammar» resulted in appearance of German language textbooks the writers of which tried to build their work on the basis of Grimm’s work, thereby contributing to the popularization of the ideas of the great linguist both among the pedagogical community and the students (A. F. H. Vilmar and K. A. J. Hoffmann).

scholarly journals En torno al prólogo y las notas de la traducción al español del Codex, Pharmacopée française de 1837

Çédille ◽  
2021 ◽  
pp. 215-235
Author(s):  
Manuela Álvarez Jurado ◽  
Keyword(s):  
Nineteenth Century ◽  
Pharmaceutical Products ◽  
Fourth Edition ◽  
Different Cultures

Pharmacopeias or Codex arise from the necessity of establishing a text which contains some reference rules which may guarantee the safety and the usefulness of pharmaceutical products. The significant advancements which took place in the fields of Chemistry and Pharmacy during the nineteenth-century led to an update of these works, in order to include the preparations which had recently been formulated. Forty-eight years passed between the fourth edition of the Pharmacopoea Hispana and the next one, published in 1865. Thus, during all this period there was an absence of an official pharmacopeia. Consequently, Manuel Jiménez decided to translate the 1837 Pharmacopée française. This paper analyzes the paratextual instances of this translation, specifically the prologue and the translator's notes, where the translator becomes visible and acts as a mediator between two different cultures.

A Victorian Wrenaissance: Historical Narrative at St. Paul's Cathedral

2021 ◽  
Vol 49 (3) ◽  
pp. 389-422
Author(s):  
Dory Agazarian
Keyword(s):  
Nineteenth Century ◽  
Urban Space ◽  
Historical Narrative ◽  
Italian Renaissance ◽  
Architectural Theory ◽  
Historical Discourse ◽  
New Methods ◽  
The Aesthetic ◽  
Christopher Wren ◽  
Liberal Individualism

The condition of St. Paul's Cathedral was central to concerns about the perception of London over the course of the nineteenth century. Designed by Sir Christopher Wren, it faced public criticism from the start. Unlike gothic Westminster Abbey, St. Paul's was an eclectic amalgam of gothic and neoclassical architecture; its interior was never finished. Efforts to decorate were boxed in by the strictures of Victorian architectural revivalism. This is the story of how academic historiography resolved a problem that aesthetic and architectural theory could not. Throughout the century, cathedral administrators sought to improve the cathedral by borrowing tools from historians with varying success. In the 1870s, a solution emerged when historians reinvented the Italian Renaissance as a symbol of liberal individualism. Their revisionist Renaissance provided an alternative to pure gothic or neoclassical revivalism, able to accommodate Wren's stylistic eclecticism. Scholars have traditionally plotted disputes about St. Paul's within broader architectural debates. Yet I argue that these discussions were framed as much by historical discourse as aesthetics. Turns in Victorian historiography eventually allowed architects to push past the aesthetic limits of the Battle of the Styles. New methods in Victorian historical research were crucial to nineteenth-century experiences of urban space.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

The Virtual Infernal: Philippe de Loutherbourg, William Beckford and the Spectacle of the Sublime

2007 ◽  
Author(s):  
Iain McCalman
Keyword(s):  
Nineteenth Century ◽  
Virtual Reality ◽  
Special Significance ◽  
Virtual Reality Technology ◽  
Gothic Novel ◽  
The Sublime ◽  
William Beckford ◽  
History Of ◽  
The Aesthetic ◽  
Drury Lane

Abstract In the autumn of 1781, shortly after being elected to the British Academy of Art as a landscape painter, Alsatian-born artist Philippe Jacques de Loutherbourg was hired by the wealthy young aesthete William Beckford to prepare a private birthday spectacle at his mansion in Wiltshire. De Loutherbourg, who was also chief scenographer at Drury Lane theatre and the inventor of a recent commercial “moving picture” entertainment called the Eidophusikon, promised to produce “a mysterious something that the eye has not seen nor the heart conceived.” Beckford wanted an Oriental spectacle that would completely ravish the senses of his guests, not least so that he could enjoy a sexual tryst with a thirteen year old boy, William Courtenay, and Louisa Beckford, his own cousin’s wife. The resulting three day party and spectacle staged over Christmas 1781 became one of the scandals of the day, and ultimately forced William Beckford into decades of exile in Europe to escape accusations of sodomy. However, this Oriental spectacle also had a special significance for the history of Romantic aesthetics and modern-day cinema. Loutherbourg and Beckford’s collaboration provided the inspiration for William to write his scintillating Gothic novel, Vathek, and impelled Philippe himself into revising his moving-picture program in dramatically new ways. Ultimately this saturnalian party of Christmas 1781 constituted a pioneering experiment in applying the aesthetic of the sublime to virtual reality technology. It also led Loutherbourg to anticipate the famous nineteenth-century “Phantasmagoria” of French showman, Gaspard Robertson, by producing in 1782 a miniature Gothic movie scene based on the Pandemonium episode in Milton’s Paradise Lost.

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