Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

scholarly journals HISTORICAL AND PHILOSOPHICAL ASPECTS IN THE RENEWAL OF THE LANGUAGE OF CHURCH MONUMENTAL PAINTING IN FRANCE AT THE TURN OF THE 20th CENTURY ON THE EXAMPLE OF PAINTINGS BY MAURICE DENIS

2020 ◽  
pp. 21-21
Author(s):  
Nataliya D. Antropova
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Artistic Creativity ◽  
Mural Paintings ◽  
French Culture ◽  
History Of ◽  
Religious Painting ◽  
The 19Th Century ◽  
The Church ◽  
Philosophical Nature

The study analyzes the historical and philosophical origins of the renewal in church monumental art in French culture at the turn of the 20th century. The crisis that broke out in the second half of the 19th century within the philosophical knowledge and classical religion and an attempt to rethink the evolution of Christianity entailed significant changes in artistic creativity devoted to the sacred theme. The author explores the topic based on the church mural paintings of the French painter Maurice Denis, who stood at the origins of the transformation of the language of religious painting and whose role is significant for the further history of European art. The relevance of the work lies in the fact that all previous studies on this topic were primarily art criticisms. They paid special attention to the analysis of the artistic language and pictorial and expressive means. At the same time, questions of historical and philosophical nature and their role in the formation of new European religious painting were analyzed to a much lesser extent.

scholarly journals A Revival of the Romantic Era as seen through a Comparative Study of Auld Lang Syne and Sumer Is Icumen In

2020 ◽  
Vol 8 (9) ◽  
pp. 145-150
Author(s):  
Nadia De Souza
Keyword(s):  
Comparative Study ◽  
19Th Century ◽  
William Wordsworth ◽  
Romantic Movement ◽  
Romantic Era ◽  
The 19Th Century ◽  
Looking Back

The Romantic Movement of 19th century Britain is often credited to William Wordsworth, while his predecessor, Robert Burns is regarded as the pioneer of the movement with his poetic themes of simplicity, friendship, and reverence for nature and rustic life, to name a few. Yet, on looking back at the medieval ages, one comes across the anonymous poem Sumer Is Icumen In that is centred around similar themes and ideas. This, thus, calls for a more nuanced analysis and understanding of the romantic ideologies that then do not appear to be new to the 19th century, but simply recurrent of what already existed. Therefore, through a comparative study of Robert Burns’ Auld Lang Syne and the medieval poem Sumer Is Icumen In, this paper will seek to place Burns either as the pioneer of the romantic movement or as a reviver of a medieval tradition. I will explore the themes, features, and form that persist in these poems.  

scholarly journals Den Postmoderne Biografi

2012 ◽  
Vol 14 (1) ◽  
pp. 34-44
Author(s):  
Johnny Kondrup
Keyword(s):  
19Th Century ◽  
Human Life ◽  
Social Structures ◽  
New Criticism ◽  
Literary Biography ◽  
Literary Research ◽  
Traditional Patterns ◽  
The 1960S ◽  
The 19Th Century ◽  
The Ideal

ABSTRACT This article concerns the return of the literary biography in the humanistic fields, especially in Danish literary research, since 1980. During the New Criticism in the 1960s biography was regarded as a superfluous genre, and during the neoMarxism of the 1970s as a naive genre. But around 1980 it returned in the form of a number of new scholarly works especially in the fields of literature and history. This article points to two elements in the postmodern Zeitgeist which might have played a role in promoting the return of biography: first, the collapse of the grand systems of interpretation, and second a change in the ideal of scholarship in the direction of constructivism. Then the article investigates how ‘the new biography’ is distinguished from the old and outlines three points in particular: 1) a greater understanding of the significance of social structures; 2) an increased focus on contingency, incoherence and indeterminacy in a human life; and 3) a rising interest in the ‘ordinary’ human being. On a fourth point, postmodern biography has not come as far as one might expect. Although it could be more experimental and theoretically self-conscious, in fact it employs surprisingly traditional patterns of narrative, most of which are stamped by the Bildungsroman of the 19th century.

scholarly journals «Huguenots» by J. Meyerbeer in the context of spiritual-Christian quests of the era of romanticism

2021 ◽  
pp. 292-298
Author(s):  
Shang Yun
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Musical Theater ◽  
Spiritual Quest ◽  
French Opera ◽  
Romantic Era ◽  
The One ◽  
The 19Th Century ◽  
French Grand Opera ◽  
Grand Opera

The purpose of the article is to identify the poetical and intonational features of J. Meyerbeer’s «Huguenots» in the context of the spiritual quest of romanticism, the evolution of French musical theater in the first half of the 19th century and its mystery component. The methodology of the work is the intonation concept of music from the perspective of intonation-stylistic analysis inherited from B. Asafiev and his followers. The analytical-musicological, genre-style, interdisciplinary, historical and cultural approaches are also essential for this work, revealing the spiritual and moral specifics of the poetics of the French «grand opera» and its mystery primary sources using the example of J. Meyerbeer's «Huguenots». The scientific novelty of the work is determined by its analytical perspective, focused on the consideration of the «Huguenots» by J. Meyerbeer in the context of the spiritual-Christian quests of the romantic era. Conclusions. The poetics of J. Meyerbeer’s opera «Huguenots», which is one of the exemplary examples of «grand» French opera, was formed at the intersection, on the one hand, of creative discoveries in the field of French musical theater of the first half of the 19th century and its vocal and performing stage practice. On the other hand, the named work demonstrates a deep connection with the mysterious traditions of the French spiritual theater, dating back to the Middle Ages, to the spiritual, religious and stylistic attitudes of the musical theater of French classicism («lyric tragedy» by J. B. Lully) and at the same time consonant with the religious quests of romanticism and the moral and ethical positions of French historicism. The essential role of religious confrontation in the Huguenots, which determinesthe intonational and dramatic specificity of the work, right down to the quotations of the Lutheran chant, ultimately focuses on the «collegiality of the highest order», which overcomes confessional barriers, defining the spiritual and moral pathos of the French «grand opera» and its spiritual attitudes.

scholarly journals Ariowie i Turańczycy. Poglądy Franciszka H. Duchińskiego na temat rasy i cywilizacji

2015 ◽  
pp. 46-63 ◽  
Author(s):  
Katarzyna Wrzesińska
Keyword(s):  
19Th Century ◽  
European Community ◽  
Rule Of Law ◽  
Human Dignity ◽  
Social Structures ◽  
Western Civilization ◽  
The West ◽  
Racial Hierarchy ◽  
Racial Origin ◽  
The 19Th Century

Aryans and Turanians. Franciszek H. Duchiński’s views on race and civilization The article deals with a theory of non-Slavic origins of Russians. This theory was authored by Franciszek Duchinski (1816-1893) who claimed that civilizational specifity of Russians stems from their racial origin that is different from the origin of the remaining European nations. He believed that because of this fact, two opposing civilizations emerged: the eastern civilization created by the Mongolian root, with a lack of rule of law and domination of despotism, and the western civilization existing among the Indoeuropean peoples who respected freedom and human dignity. Duchinski was convinced that the two civilization differed one from another most of all due to several external and mental factors instead of biological discrepancies. He did not evaluate races and civilizations as better or worse, and he did not giva a definion of the notion of race. This unprecise attitude was characteristic of the 19th century writings. Such notions as “race”, “nation”, “tribe”, or “clan”, were used interchangeably. Moreover, racial hierarchy was not considered as something improper.Duchinski’s views on the Asian despotism on the whole agreed with those abiding in the Polish writings in the 19th century, with dominating opinions that Russia and Europe represented different civilizations and were in a permanent antagonism. Duchinski’s aim was to warn Western European community that East is a threat to the West and he wanted to demonstrate that Poland had a role to play for the Latin Christianity.His conclusions about the antynomy of civilizations are still valid even though today we tend to deny that race and civilization are interconnected. Now civilizational identity is seen first of all in a variety of different values, beliefs, institutions and social structures. Thus, one should agree with Duchinski that civilizations are indeed different but we still should avoid to evaluate them as better or worse. Ariowie i Turańczycy. Poglądy Franciszka H. Duchińskiego na temat rasy i cywilizacjiTekst jest poświęcony teorii niesłowiańskiego pochodzenia Rosjan. Jej autor, Franciszek H. Duchiński (1816-1893), uzasadniał odmienność cywilizacyjną Rosjan ich innym od pozostałych ludów Europy pochodzeniem rasowym. Ono, jak uważał, zadecydowało o powstaniu funkcjonujących w opozycji dwóch cywilizacji: wschodniej, stworzonej poprzez pierwiastek mongolski, gdzie dominowało bezprawie i despotyzm, oraz zachodniej, powstałej jako wytwór ludów indoeuropejskich, które respektowały wolność i godność człowieka. Duchiński uzasadniał różnice między nimi w większym stopniu czynnikami zewnętrznymi i mentalnymi niż biologicznymi. Nie wartościował ras i cywilizacji, a pojęcia „rasa” nie definiował. Brak ścisłości w tym względzie był charakterystyczny dla XIX-wiecznego piśmiennictwa. Często stosowano zamiennie pojęcia „rasa”, „naród”, „plemię”, „szczep”. Nie uważano też za naganne hierarchizowania ras.Opinie Duchińskiego na temat azjatyckiej despotii nie odbiegały od powszechnie przyjętych w piśmiennictwie polskim XIX w. Dominujący w nim wątek stanowiło przekonanie o odmienności cywilizacyjnej Rosji i Europy i o trwałym pomiędzy nimi antagonizmie. Działalność Duchińskiego miała służyć uświadomieniu opinii zachodnioeuropejskiej zagrożenia jakie płynęło dla Europy ze strony cywilizacji wschodniej oraz roli Polski na przedmurzu chrześcijaństwa łacińskiego.Spostrzeżenia na temat antynomii wspomnianych cywilizacji są i dziś aktualne. Współcześni badacze problemu przeczą rzecz jasna związkom pomiędzy rasą i cywilizacją. Kładą za to nacisk na różnice w sferze wartości, wierzeń, instytucji i struktur społecznych, które decydują o tożsamości cywilizacyjnej. O ile więc można nie godzić się z argumentacją Duchińskiego, to w sferze wniosków należy autorowi przyznać rację i nie wartościując cywilizacji uznać je za odmienne.

scholarly journals “In the East God has sacred places…”

2020 ◽  
pp. 108-118
Author(s):  
V.A. Koshelev
Keyword(s):  
19Th Century ◽  
Point Of View ◽  
Sacred Places ◽  
Russian Art ◽  
Poetic Text ◽  
Romantic Era ◽  
Similarities And Differences ◽  
The 19Th Century ◽  
The Rose

The author analyses A.A. Fet's poem “The Nightingale and the Rose”, included in the collection “Poems” (1850). He points out that the collection aroused the interest of leading critics of the second half of the 19th century such as Apollo Grigoriev, Lev May and Osip Senkovsky. A.A. Fet's poem “The Nightingale and the Rose” particularly attracted their attention. The most significant characteristics of the poem are identified in the present study from the point of view of these critics; similarities and differences in its assessment are noted, and their reasons are explained. In particular, attention is drawn to the lively interest of the romantic era (both in European and Russian art culture) for the East. Characteristics of the image of the East are given, as well as names of writers and titles of their works. The author points to a foreign source of A.A. Fet's poem “The Nightingale and the Rose”, which turned out to be an inaccurate translation of Hafiz, reflecting not so much the specifics of Hafiz's ghazals as their interpretation by the translator with his European vision of the East. The text of A.A. Fet is a version of the Eastern ghazal in Russian. A digression about the historical and philological study of the word “rose” in the works of A.N. Veselovsky, and the tradition of using the theme of love between the Nightingale and the Rose in the poetry of A.S. Pushkin, N.M. Yazykov, A.V. Koltsov are presented. The author notes the original features in the interpretation of these images in the poetic text of A.A. Fet and points out the programmatic nature of the poem “The Nightingale and the Rose”, as testified by the poet's repeated references to the text and the corrections he inserted in view in a new publication.

Wundercamera Obscura

2017 ◽  
pp. 70-73
Author(s):  
Witold Kanicki
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
Museum Visitors ◽  
Exhibition Space ◽  
Daily Press ◽  
The Subject ◽  
The Many ◽  
The 19Th Century ◽  
Museum Practice

Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera

scholarly journals Jan Kochanowski w 1888 roku. Raport o stanie badań

2020 ◽  
Vol 20 ◽  
pp. 221-247
Author(s):  
Urszula Kowalczuk
Keyword(s):  
19Th Century ◽  
Cognitive Effort ◽  
Joint Effort ◽  
Artistic Creativity ◽  
State Of Research ◽  
The 19Th Century ◽  
Important State

In this paper, the author reconstructs a critical‑literary discussion, which took place in 1888 after the release of the monograph devoted to Jan Kochanowski by Stanisław Tarnowski. It was an attempt at combining previous findings on the biography and work of the Renaissance poet. Reading the most important critical statements evoked by Tarnowski’s book made it possible to characterise an important state of research into Kochanowski’s work and indicate essential problematic issues (religious matters, ‘the Ronsard question’, the case of Kochanowski’s artistic creativity, assessing the advancement of knowledge about his works), which in the 19th century were regarded as arguable, unresolved or demanding a particular cognitive effort. The authors in those days, thanks to their joint effort, managedto determine the scope of issues which would be investigated by researchers in the following years.

scholarly journals Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu

2020 ◽  
pp. 23-39
Author(s):  
Klaudia Popielska
Keyword(s):  
19Th Century ◽  
Piano Concerto ◽  
Polish Music ◽  
Romantic Era ◽  
History Of ◽  
A Minor ◽  
The 19Th Century ◽  
National Style

The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".

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