DOCSLIB.ORG

Romanticism Kindle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Romanticism Kindle ROMANTICISM PDF, EPUB, EBOOK David Stevens | 130 pages | 01 Mar 2004 | CAMBRIDGE UNIVERSITY PRESS | 9780521753722 | English | Cambridge, United Kingdom Romanticism PDF Book Rather than contradictory impulses, as they are often regarded today, sociality and individuality, on the romantic picture, are not only compatible but also naturally harmonious—grounded in human nature: [ 6 ]. The longest poem in the volume was Coleridge's The Rime of the Ancient Mariner , which showed the Gothic side of English Romanticism, and the exotic settings that many works featured. If you're seeing this message, it means we're having trouble loading external resources on our website. Seen as such, the artwork is not a mere artifact, but a quasi -organism in the sense that it organizes and regulates itself. This is where aesthetics comes into the picture. This is because the romantics turned to aesthetics to a large extent in order to pursue, rather than to reject, some of the core ethical and political values of the Enlightenment, such as autonomy or self- determination and the ideal of Bildung. The non-determining character of aesthetic feeling is related to the distinctive kind of normativity that characterizes artistic production and aesthetic appreciation. The European Romantic movement reached America in the early 19th century. Mirror Sites View this site from another server:. Cambridge University Press. He sought inspiration in medieval Portuguese poems and chronicles as in the Bible. The Romantic Imagination in series, "Galaxy Book[s]". Opera and Drama , translated by William Ashton Ellis. Their understanding of nature, not only as monistic but also as an organic whole that is self-forming and self-generating—in their terms, as a creative, living force—is inspired by what, according to them, Kant only started to point to, but failed fully to develop in the third Critique since he restricted it to a regulative and heuristic conception: namely, the conception of organic nature. The demonic and anti-rational monsters thrown up by his imagination are only superficially similar to those of the Gothic fantasies of northern Europe, and in many ways he remained wedded to the classicism and realism of his training, as well as looking forward to the Realism of the later 19th century. While Gros' teacher Jaques Louis David also portrayed Napoleon in all of his mythic glory, Gros, along with some of David's other students, injected a Baroque dynamism into their compositions to create a more dramatic effect than David's Neoclassicism offered. Madrid: Editorial Gredos. In such an ideal republic everyone must be an artist who, by means of the poetic spirit of love, is related to the other citizens as artists relate to one another. Bowman, B. To express these feelings, it was considered the content of art had to come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. The troublesome consequences of this approach to nature are multiple. Romanticism and Its Discontents. Turner were born less than a year apart in and respectively and were to take German and English landscape painting to their extremes of Romanticism, but both their artistic sensibilities were formed when forms of Romanticism was already strongly present in art. Obras Completas de Almeida Garrett — 2 Volumes. By its non-ordinary use of language, attention to details and evoking power, poetry brings out in vivid colors what we are usually blind to, even if it is, literally, the closest and most familiar to us. It is beauty, above all, that inspires this realization. Back to top. Claiming to have found poetry written by the ancient bard Ossian , he published translations that acquired international popularity, being proclaimed as a Celtic equivalent of the Classical epics. Romantic Poetry is poetry as much as it is a philosophical method and a vital approach to human life. With this shift in mind, they turned from political optimism to religion. The transcendental poet is the transcendental person altogether. The Romantic movement affected most aspects of intellectual life, and Romanticism and science had a powerful connection, especially in the period — Is Singular 'They' a Better Choice? Joachimides, Christos M. Gerald Abraham M. While romantic irony is the basis for a way of life that is centered on humility, it also paves the way for awe and reverence for it suggests that there is much beyond our comprehension, much that remains mysterious, incomprehensible, greater than our capacities and possibly infinite rather than finite like us. Romanticism Writer On their view, the rise of capitalism and instrumentalism had suppressed natural social bonds and encouraged self-interest. The first emerged in the s and s, the second in the s, and the third later in the century. The proper path to a republic, they thought, is not through a revolutionary act, but through proper education. Test Your Knowledge - and learn some interesting things along the way. Spearing, A. Schlegel is not alone on this matter. So, in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves". The Cambridge History of Political Thought. Thomas Chatterton is generally considered the first Romantic poet in English. Hector Berlioz by Gustave Courbet , Lovejoy and Berlin Schleiermacher, On Religion [translation modified]. This combination of being independent of given rules and attuned to something other than yourself is required not only for the genius, but also for approximating the Absolute. We cannot consider human beings individually. In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of " sensibility " with its emphasis on women and children, the isolation of the artist or narrator, and respect for nature. The piano is now on display at Hatchlands Park in Surrey. Romanticism and the Sciences. London: John Murray. Because music was considered to be free of the constraints of reason, imagery, or any other precise concept, it came to be regarded, first in the writings of Wackenroder and Tieck and later by writers such as Schelling and Wagner , as preeminent among the arts, the one best able to express the secrets of the universe, to evoke the spirit world, infinity, and the absolute. It had less to do with proving that man was capable of understanding nature through his budding intellect and therefore controlling it, and more to do with the emotional appeal of connecting himself with nature and understanding it through a harmonious co-existence. Who is JMW Turner? Schinkel followed the original design as much as possible, but used modern construction technology, including an iron frame for the roof. How is this core feature of romantic aesthetics, the primacy of the aesthetic, to be explained? Why so? Egyptian Greek Etruscan Roman. The most known ones are the moral aspect of part II, individualist and romantic message of part IV, as well as deeply patriotic, messianistic and Christian vision in part III of the poem. Poetry…must be a harmonious mood of our mind…where everything finds its proper aspect…. Human dignity is grounded in rational and normatively constrained receptivity just as much as it is grounded in spontaneity. A Syrian man on the left, along with his servant who carries a breadbasket, gives bread to the ill, and two men behind them carry a man out on a stretcher. Schlegel, WM: Other works such as Delacroix's Death of Sardanapalus included larger figures, and these often drew heavily on earlier artists, especially Poussin and Rubens , with extra emotionalism and special effects. Schlegel, WM: The transcendental nature of romantic poetry suggests that it does not transcend merely the boundaries of a particular genre, but even the boundaries of the literary as such. Scotland was also the location of two of the most important literary magazines of the era, The Edinburgh Review founded in and Blackwood's Magazine founded in , which had a major impact on the development of British literature and drama in the era of Romanticism. Nassar, D. Saul, N. The cathedral had been begun in , but work was halted in This idea of an American identity in the art world is reflected in W. By its non-ordinary use of language, attention to details and evoking power, poetry brings out in vivid colors what we are usually blind to, even if it is, literally, the closest and most familiar to us. Fingal , written in , was speedily translated into many European languages, and its appreciation of natural beauty and treatment of the ancient legend has been credited more than any single work with bringing about the Romantic movement in European, and especially in German literature, through its influence on Johann Gottfried von Herder and Johann Wolfgang von Goethe. Romanticism Reviews Thomas Cole's paintings tend towards allegory , explicit in The Voyage of Life series painted in the early s, showing the stages of life set amidst an awesome and immense nature. Elsewhere in Europe, leading artists adopted Romantic styles: in Russia there were the portraitists Orest Kiprensky and Vasily Tropinin , with Ivan Aivazovsky specializing in marine painting , and in Norway Hans Gude painted scenes of fjords. In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of " sensibility " with its emphasis on women and children, the isolation of the artist or narrator, and respect for nature. Keep scrolling for more More Definitions for romanticism romanticism. Period of artistic, literary, and intellectual movement that started in 18th-century Europe. It was in this house that Coleridge wrote some his most famous works, including 'The Rime of the Ancient Mariner'. Novalis, Logological Fragments I , in Stoljar A Syrian man on the left, along with his servant who carries a breadbasket, gives bread to the ill, and two men behind them carry a man out on a stretcher.
Load more

Recommended publications
  • University Musical Society Oslo Philharmonic
    UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener­ cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise.
    [Show full text]
  • Thomas Cole Thomas Cole Was Recognized As the “Father
    Thomas Cole Thomas Cole was recognized as the “father of the Hudson River School of painting and hence one of the figures most directly involved in the development of a native tradition of American art...” He was “considered by his contemporaries the leading landscape painter in America...” Thomas Cole was born on February 1, 1801, in Lancashire, England. He was seventh of eight children and the only son of James and Mary Cole. His father was a woolen manufacturer who fell on hard times. Because of this, they moved to a nearby town where Thomas was apprenticed as a calico designer and where he learned the art of engraving. He especially enjoyed walking in the countryside with his youngest sister, playing the flute, and composing poetry. He was an avid reader and became interested in the natural beauties of the North American states. Thomas’ father caught his son’s enthusiasm. He moved his family to Philadelphia where he began business as a dry goods merchant. Thomas took up the trade of wood engraving. The family was soon moved again. This time to Steubenville, Ohio, but Thomas remained in Philadelphia. Not long afterwards, he sailed to St. Eustatius in the West Indies where he made sketches of what to him was nature in a grand form of wonder and beauty. A few months later, he returned to the US and joined his father in Ohio. There he helped his father by drawing and designing patterns for wallpaper. A book offered to him by a German portrait painter gave him information on design, composition, and color.
    [Show full text]
  • The Hudson River School
    Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States.
    [Show full text]
  • Network Map of Knowledge And
    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Myth–Making and Identities Studies in the Long Nineteenth Century, Vol 2
    The Idea of North Myth–Making and Identities Studies in the Long Nineteenth Century, vol 2. Publisher: The Birch and the Star – Finnish Perspectives on the Long 19th Century ©The Birch and the Star and the authors. All rights reserved. Editors: Frances Fowle and Marja Lahelma Designer: Vilja Achté Cover illustration: Vilja Achté Helsinki 2019 ISBN: 978-952-94-1658-5 www.birchandstar.org Contents Preface Frances Fowle and Marja Lahelma 4 Introduction: Conceptualising the North at the Fin de Siècle Frances Fowle and Marja Lahelma 5 Sámi, Indigeneity, and the Boundaries of Nordic National Romanticism Bart Pushaw 21 Photojournalism and the Canadian North: Rosemary Gilliat Eaton’s 1960 Photographs of the Eastern Canadian Arctic Danielle Siemens 34 Quaint Highlanders and the Mythic North: The Representation of Scotland in Nineteenth Century Painting John Morrison 48 The North, National Romanticism, and the Gothic Charlotte Ashby 58 Feminine Androgyny and Diagrammatic Abstraction: Science, Myth and Gender in Hilma af Klint’s Paintings Jadranka Ryle 70 Contributors 88 3 This publication has its origins in a conference session and assimilations of the North, taking into consideration Preface convened by Frances Fowle and Marja Lahelma at the issues such as mythical origins, spiritual agendas, and Association for Art History’s Annual Conference, which notions of race and nationalism, tackling also those aspects took place at the University of Edinburgh, 7–9 April 2016. of northernness that attach themselves to politically sensitive Frances Fowle and The vibrant exchange of ideas and fascinating discussions issues. We wish to extend our warmest thanks to the authors during and after the conference gave us the impetus to for their thought-provoking contributions, and to the Birch continue the project in the form of a publication.
    [Show full text]
  • A Reconstrução Dos Símbolos Nacionais Em Almeida Garrett
    Nau Literária: crítica e teoria de literaturas • seer.ufrgs.br/NauLiteraria ISSN 1981-4526 • PPG-LET-UFRGS • Porto Alegre • Vol. 10 N. 2 • jul/dez 2014 Dossiê: Migração, exílio e identidade Exílio e Identidade: A reconstrução dos símbolos nacionais em Almeida Garrett Nuno Miguel de Brito e Souza Teixeira* Resumo: O objetivo deste trabalho é mostrar o exílio Abstract: The aim of this study is to show the exile as enquanto processo de afastamento forçado que reforça A forced separation that reinforces the idealization of a idealização da nacionalidade e dos seus símbolos. O the nationality and their symbols. This study focuses, estudo recai essencialmente sobre o poema Camões de essentially, on Camões poem by Almeida Garrett Almeida Garrett (Paris, 1825). (Paris, 1825). Palavras-chave: Exílio; Almeida Garrett; Camões; Keywords: Exile; Almeida Garrett; Camões; Romantismo. Romanticism. 1 Nacionalismo e Historicismo A característica nuclearmente distintiva do Romantismo Literário Português é a valorização da Nacionalidade, atitude que, embora sendo geral em todo o percurso romântico internacional, no caso português se expressou com maior incidência, sendo dotado de uma especificidade própria e um contexto específico no qual os fenómenos de exílio e a instabilidade política constituíram um elemento chave. O nacionalismo literário é uma atitude geral em todos os espaços tocados pelo Romantismo, determinado sobretudo pela resistência ao peso do Classicismo greco-latino, mas também por uma oposição contra os centros polarizadores de cultura ocidental. Este último fator é essencial para o caso português, enquanto periferia geográfica destes núcleos. O Romantismo Português insurge-se contra o Francesismo e contra os Afrancesados, numa atitude de afirmação da nacionalidade, não tanto enquanto limite político unitário, mas sim como exaltação mitificante de uma comunidade nacional e idealização épica de um povo.
    [Show full text]
  • Mackenzie, Donald Ralph. PAINTERS in OHIO, 1788-1860, with a BIOGRAPHICAL INDEX
    This dissertation h been microfilmed exactly as received Mic 61—925 MacKENZIE, Donald Ralph. PAINTERS IN OHIO, 1788-1860, WITH A BIOGRAPHICAL INDEX. The Ohio State University, Ph.D., 1960 Fine A rts University Microfilms, Inc., Ann Arltor, Michigan Copyright by Donald Ralph MacKenzie 1961 PAINTERS IN OHIO, 1788-1860 WITH A BIOGRAPHICAL INDEX DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Donald Ralph MacKenzie, B. A., M. S. ****** The Ohio State University 1960 Approved by /Adviser* School oC Fine and Applied Arts PREFACE In 1953, when the author was commissioned to assemble and catalogue the many paintings owned by the Ohio Historical Society, it quickly became apparent that published reference works on early mid- western painters were sadly lacking. At that time the only source books were the standard biographical indexes of American artists, such as Mallett's Index of Artists and Mantle Fielding's Dictionary of Amer­ ican Painters. Sculptors and Engravers. The mimeographed WPA Histori­ cal Survey American Portrait Inventory (1440 Early American Portrait Artists I6b3-1860) furnished a valuable research precedent, which has since been developed and published by the New York Historical Society as the Dictionary of Artists in America 1564-1860. While this last is a milestone in research in American art history, the magnitude of its scope has resulted in incomplete coverage of many locales, especially in the Middlewest where source material is both scarce and scattered. The only book dealing exclusively with the Ohio scene is Edna Marie Clark's Ohio Art and Artists, which was published in 1932.
    [Show full text]
  • Art and Art of Design Учебное Пособие Для Студентов 2-Го Курса Факультета Прикладных Искусств
    Министерство образования Российской Федерации Амурский государственный университет Филологический факультет С. И. Милишкевич ART AND ART OF DESIGN Учебное пособие для студентов 2-го курса факультета прикладных искусств. Благовещенск 2002 1 Печатается по решению редакционно-издательского совета филологического факультета Амурского государственного университета Милишкевич С.И. Art and Art of Design. Учебное пособие. Амурский гос. Ун-т, Благовещенск: 2002. Пособие предназначено для практических занятий по английскому языку студентов неязыковых факультетов, изучающих дизайн. Учебные материалы и публицистические статьи подобраны на основе аутентичных источников и освещают последние достижения в области дизайна. Рецензенты: С.В.Андросова, ст. преподаватель кафедры ин. Языков №1 АмГУ; Е.Б.Лебедева, доцент кафедры фнглийской филологии БГПУ, канд. Филологических наук. 2 ART GALLERIES I. Learn the vocabulary: 1) be famous for -быть известным, славиться 2) hordes of pigeons -стаи голубей 3) purchase of -покупка 4) representative -представитель 5) admission -допущение, вход 6) to maintain -поддерживать 7) bequest -дар, наследство 8) celebrity -известность, знаменитость 9) merchant -торговец 10) reign -правление, царствование I. Read and translate the text .Retell the text (use the conversational phrases) LONDON ART GALLERIES On the north side, of Trafalgar Square, famous for its monument to Admiral Nelson ("Nelson's Column"), its fountains and its hordes of pigeons, there stands a long, low building in classic style. This is the National Gallery, which contains Britain's best-known collection of pictures. The collection was begun in 1824, with the purchase of thirty-eight pictures that included Hogarth's satirical "Marriage a la Mode" series, and Titian's "Venus and Adonis". The National Gallery is rich in paintings by Italian masters, such as Raphael, Correggio, and Veronese, and it contains pictures representative of all European schools of art such as works by Rembrandt, Rubens, Van Dyck, Murillo, El Greco, and nineteenth century French masters.
    [Show full text]
  • Antecedentes Medievais Da Ruptura Com Roma
    Byron e Lamartine num Soneto de Alcipe1 João Almeida Flor Faculdade de Letras da Universidade de Lisboa Integrado em reflexão desencadeada a propósito do segundo centenário da viagem de Lord Byron a Portugal, o presente trabalho visa contribuir para preencher uma lacuna na linha de continuidade que caracteriza a recepção criativa de Childe Harold’s Pilgrimage (1812) na cultura portuguesa oitocentista. Com efeito, propomo-nos comentar questões relativas a um soneto de interesse byroniano, até agora negligenciado, apesar de haver sido composto pela Marquesa de Alorna (1850-1839), entre os poetas conhecida por Alcipe, e publicado no volume IV das Obras Poéticas (1844), postumamente dadas à estampa por suas filhas, com o apoio editorial de Carlos Manuel Soyé. Como se este aliciante não bastasse, tal soneto constitui ainda o paratexto autoral introdutório, anteposto à tradução, também efectuada por Alcipe, de uma das célebres Méditations Poétiques (1820) de Alphonse de Lamartine, justamente aquela que, nessa colectânea inaugural do romantismo francês, o autor dedicara à controversa figura de Lord Byron. Daqui se concluirá como, a partir de um passo de Childe Harold’s Pilgrimage, 1 Citação: Flor, João Almeida. “Byron e Lamartine num Soneto de Alcipe”. O Rebelde Aristocrata. Nos 200 Anos da Visita de Byron a Portugal. Org. Maria Zulmira Castanheira e Miguel Alarcão. Porto: Faculdade de Letras da Universidade do Porto / Centre for English, Translation and Anglo-Portuguese Studies, 2010, pp. 42-54. O Rebelde Aristocrata as reverberações do byronismo dentro do macro-espaço anglo-franco- português, descrevem trajectórias de fluxo, refluxo e intersecção que demonstram a centralidade da figura de Alcipe como mediadora intercultural, na transição para o romantismo oitocentista.
    [Show full text]
  • Cathedral Newsletter April 2017 the Glorious Resurrection of Christ
    RUSSIAN ORTHODOX CHURCH DIOCESE OF SOUROZH CATHEDRAL OF THE DORMITION OF THE MOTHER OF GOD 67 ENNISMORE GARDENS, LONDON SW7 1NH Cathedral Newsletter April 2017 The Glorious Resurrection of Christ. Pascha 3/16 April Paschal Troparion Christ is risen from the dead, trampling down death by death, and to those in the tomb He has given life. Paschal Kontakion Though Thou didst descend into the tomb, O Thou Who art immortal, yet didst Thou destroy the power of hell, and Thou hast risen as victor, O Christ our God, and didst greet the myrrh-bearing women, saying: “Rejoice!”. Thou didst give peace to Thine apostles, O Thou Who grantest to the fallen resurrection. April 2017 List of contents In this issue: HOW I BECAME ORTHODOX Teenage rebellion... Paschal Message Philosophic exploration... by Archbishop Elisey Orthodoxy!.......................................19 of Sourozh.......................................3 HOLY PLACES IN LONDON DIOCESAN NEWS............................4 The Church of CATHEDRAL NEWS........................5 St Bartholomew the Great “Are you starving? in Smithfield..................................22 I will pray for you...”....................6 “To trust God in prayer and in LEGACY OF METROPOLITAN life”. Interview with Kira Clegg. ANTHONY OF SOUROZH Part 2.........................................................26 Thomas Sunday.............................8 CATHEDRAL NEWSLETTER BRITISH AND IRISH SAINTS 30 YEARS AGO St Cuthbert, Bishop of Pushkin at Luton Hoo...................29 Lindisfarne, Wonderworker .....9 Learning Russian.........................30
    [Show full text]