O. Messian's piano cycle "20 views on the infant Jesus" in the aspect of connection with the legacy of О. Scriabin

Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in order to find an adequate approach to the construction of interpretation. Scientific novelty. For the first time in Ukrainian musicology, the completeness of the implementation of the idea of scriabinism in the works of О. Messian is being raised. For the first time in this perspective, the cycle "20 views on the infant Jesus"is analyzed. Attention is drawn to the extra-procedural, extra-dramatic, but especially ecstatic identification of the musical meaning of compositions for the first time. Conclusions. Analysis from the accepted perspective of the expressive positions of the O cycle. Messiana demonstrated a pronounced liturgical-mysterious orientation, which correlates with the characteristic attitudes of Scriabin's music. The analysis highlights the effect of" quiet climax", which is" drama on the contrary", since it focuses on the sacred phenomenon of the infant Jesus, which defines the essence of this phenomenon. In the works of О. Messian, we find a "spill" of dance-motor sounds, which corresponds to the Franciscan attitude to sacred danceability – and to divine play in ecstatic compositions by О. Scriabin. The interval-semantic load of the Prometheus Chord Forms a hyper-branched monologue of the cycle of A. Messiaen, in which the basis is the concept of an open sequence of the composition of pieces of the French Clavier tradition, and The Prelude in the sacred sense of its basis of music, as it is seen in the Sonata-poetic heritage of О. Scriabin, and the suite-variational thinking of О. Messiaen.

On the Politics of Decadent Rebellion: Beardsley, Japonisme, Rococo

The graphic designer Aubrey Beardsley created perverse, grotesque illustrations that encapsulate our sense of decadent visuality. This essay explores Beardsley's use of foreign styles, specifically those of nineteenth-century Japan and eighteenth-century France. Looking at Beardsley's illustrations for Salomé (1893) and The Rape of the Lock (1895), the essay argues that the Japanese and French stylistic influences are actually connected, despite their diverse geographies and temporalities. Studying both styles together reveals the ways that decadence embraced hierarchy and the inequality of persons, wielding a surprisingly normative politics of racial and cultural otherness to produce a Victorian counterculture. Decadence harnessed these familiar imperial-era attitudes in strange ways, using models of taboo difference to create a transgressive aesthetics that moved toward both embodiment and abstraction.

7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation

The evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.

Los influjos estilísticos europeos en las producciones de cerámica asturiana de la Edad Moderna

A través del estudio de 3.237 piezas cerámicas de cronologías que van desde el siglo XIII al XVIII queremos conocer cuáles eran los influjos estilísticos europeos en las producciones de cerámica asturiana. A comienzos de la Edad Moderna los mercados asturianos comienzan a estar inundados por cerámicas de importación, principalmente procedentes de Holanda, Talavera de la Reina, Portugal, Sevilla, País Vasco e Inglaterra. La llegada de estas producciones influirá en las decoraciones desarrolladas en los alfares asturianos de Faro de Limanes y Miranda de Avilés. En esta investigación veremos como en piezas asturianas aparecen motivos creados en Talavera de la Reina, Portugal, Italia, Francia e incluso Holanda. Estas influencias señalan la capacidad de la artesanía del barro asturiana de asimilar novedades, de adaptarse a las nuevas modas decorativas europeas y a las demandas de la sociedad.The European stylistic influences in the Asturian ceramic productions of the Early Modern Period.Through the study of 3,237 ceramic pieces of chronologies that go from the XIII to the XVIII century, we want to know what the European stylistic influences in the production of Asturian ceramics were. At the beginning of the Early Modern Period the Asturian markets began to be flooded by imported ceramics mainly from the Netherlands, Talavera de la Reina, Portugal, Seville, the Basque Country and England. The arrival of these productions will influence the decorations developed in the Asturian potteries of Faro de Limanes and Miranda de Avilés. In this investigation we will see how in Asturian pieces, there are motifs created in Talavera de la Reina, Portugal, Italy, France and even Holland. These influences point to the ability of the Asturian mud crafts to assimilate novelties, the means of adaptation to the new European decorative forms and the demands of society.

Austrian-Italian Encounters: Notes on Some Films Produced Between Rome and Vienna in the 1930s

This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.

Austrian-Italian Encounters: Notes on Some Films Produced Between Rome and Vienna in the 1930s

This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.

Ernő Foerk and Gyula Sándy’s Tüköry Mansion in Dioš, Croatia: Genealogy of Architectural and Stylistic Features

Tüköry Mansion in Dioš (Diósszentpál), Croatia, was designed by architects Ernő Foerk and Gyula Sándy in 1904. It is situated near the Central Slavonian town of Končanica and in close proximity of Daruvar, on an estate that belonged to Tüköry family. The late-historicist country house was commissioned by Paula von Falkenberg, a widow of Alajos Tüköry de Algyest, as a permanent residence for her and her three children. It was built in the eclectic late-historicist style of fin-de-siècle Hungary, highly inspired by the late-mediaeval art and architecture of northern Italy. Those stylistic influences were strongly manifested in the architectural design of the mansion, but even more its great hall, the focal point of its layout, designed in 1904–05. Based on both archival and terrain research, this paper aims to determine the main factors of cultural and architectural identity of the mansion by elucidating its history and stylistic genealogy.

La decoración escultórico-arquitectónica de carácter funerario en el Conventus Cluniensis = Funerary Type Sculptural-Architectural Decoration in the Conventus Cluniensis

El análisis detallado, tanto estilístico como tipológico, de un variado conjunto de materiales arquitectónicos y escultóricos, mayoritariamente descontextualizado, ha permitido constatar su carácter funerario así como su posible vinculación con diferentes tipologías funerarias dentro las categorías más habituales en el mundo romano: la edícula sobre podio, los altares con pulvinos o los altares decorados con roleos de acanto. Se pone de manifiesto su temprana adopción en el convento cluniense, desde comienzos de la época julio-claudia, así como las diferentes influencias estilísticas ―itálicas, galas fundamentalmente― que confluyen en la decoración cluniense, sin olvidar la fuerte impronta local. A partir de ahí, se traza un panorama global con respecto al proceso de monumentalización de las necrópolis en este ámbito geográficoDetailed analysis, both in stylistic as well as typological terms, of a range of architectural and sculptural materials, most of which have been displaced, has confirmed their funerary nature and their possible link to different funerary forms within the varieties most commonly found in the Roman world: “aedicula”, altars with “pulvini” or altars with garland. Their early incorporation into the convent at Clunia is confirmed, dating from the Julio-Claudian period, together with various stylistic influences ― mainly italic, Gaul ― which converge in Clunian decoration, whilst not forgetting the strong local influence. Based on this evidence, an overall view is traced of the process of monumentalization of the necropolises in the area.

Local Forms and Ifranji Pleasures

Looking beyond the anxiety over “ifranji” influence, this chapter examines how popular domestic items were marketed, the outlets where they could be acquired, and the labor, material, and styles that went into their production. The chapter shows how advertisements in the press promoted the latest fashionable imports while trying to advocate local industries. In addition, both modern and old inner city souks were not set apart by imported and traditional goods, respectively, but rather by a growing separation between areas of production and consumption across the city. Finally, the most popular domestic items involved labor, raw material, and stylistic influences that cut across the local, regional, and global levels. This crisscrossing not only rendered the line between ifranji and Oriental difficult to trace in reality, but also complicated the intellectual project of middle-class modernity.