Ahab and the Images of Ancient Rome in Herman Melville's Moby-Dick
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Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E
Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E. Young A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Francine Masiello, Co-chair Professor Michael Iarocci, Co-chair Professor Robert Kaufman Fall 2012 Abstract Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen Young Doctor of Philosophy in Hispanic Languages and Literatures University of California, Berkeley Professors Francine Masiello and Michael Iarocci, Chairs In this dissertation I study the how the baroque is used to understand aesthetic modernity in twentieth-century Spain and Latin America. My argument is that the baroque, in contemporary Hispanic and Latin American studies, functions as a myth of cultural exceptionalism, letting critics recast avant-garde and postmodern innovation as fidelity to a timeless essence or identity. By viewing much contemporary Spanish-language as a return to a baroque tradition—and not in light of international trends—critics in effect justify Spain and Latin America’s exclusion from broader discussions of modern literature. Against this widespread view, I propose an alternative vision drawn from the work of Gerardo Diego, José Lezama Lima and Severo Sarduy. These authors see the baroque not as an ahistorical, fundamentally Hispanic sensibility located outside the modern, but as an active dialogue with the wider world. In very different ways, they use the baroque to place the Hispanic world decidedly inside global aesthetic modernity. In contrast to most contemporary scholarship on the topic, I do not take the baroque to be a predefined aesthetic practice, readily identifiable in seventeenth- or twentieth- century authors. -
AP Art History Greek Study Guide
AP Art History Greek Study Guide "I cannot teach anybody anything. I can only make them think." - Socrates (470-399 BCE) CH. 5 (p. 101 – 155) Textbook Timeline Geometric Archaic Early Classical High Classical Late Classical Hellenistic 900-700 600 BCE- 480 Severe 450 BCE-400 BCE 400-323 BCE 323 BCE-31 BCE BCE 480 BCE- 450 BCE BCE Artists: Phidias, Artists: Praxiteles, Artists: Pythokritos, Artists: ??? Polykleitos, Myron Scopas, Orientalizing Lysippus Polydorus, Artists: Kritios 700-600 Agesander, Artworks: Artworks: BCE Artworks: Athenodorus kouroi and Artworks: Riace warrior, Aphrodite of Knidos, korai Pedimental Zeus/Poseidon, Hermes & the Infant Artworks: sculpture of the Doryphoros, Dionysus, Dying Gaul, Temple of Diskobolos, Nike Apoxyomenos, Nike of Samothrace, Descriptions: Aphaia and the Adjusting her Farnes Herakles Barberini Faun, Idealization, Temple of Sandal Seated Boxer, Old Market Woman, Artemis, Descriptions: stylized, Laocoon & his Sons FRONTAL, Kritios boy Descriptions: NATURAL, humanized, rigid Idealization, relaxed, Descriptions: unemotional, elongation EMOTIONAL, Descriptions: PERFECTION, dramatic, Contrapposto, self-contained exaggeration, movement movement, individualistic Vocabulary 1. Acropolis 14. Frieze 27. Pediment 2. Agora 15. Gigantomachy 28. Peplos 3. Amphiprostyle 16. Isocephalism 29. Peristyle 4. Amphora 17. In Situ 30. Portico 5. Architrave 18. Ionic 31. Propylaeum 6. Athena 19. Kiln 32. Relief Sculpture 7. Canon 20. Kouros / Kore 33. Shaft 8. Caryatid / Atlantid 21. Krater 34. Stele 9. Contrapposto 22. Metope 35. Stoa 10. Corinthian 23. Mosaic 36. Tholos 11. Cornice 24. Nike 37. Triglyph 12. Doric 25. Niobe 38. Zeus 13. Entablature 26. Panatheonic Way To-do List: ● Know the key ideas, vocabulary, & dates ● Complete the notes pages / Study Guides / any flashcards you may want to add to your ongoing stack ● Visit Khan Academy Image Set Key Ideas *Athenian Agora ● Greeks are interested in the human figure the idea of Geometric perfection. -
An Empire Style Furniture Set at Nedkovich House, Old Town Plovdiv
Architecture and Urban Planning doi: 10.1515/aup-2015-0007 2015/10 An Empire Style Furniture Set at Nedkovich House, Old Town Plovdiv Regina Pavlova Raycheva, University of Forestry Abstract – The paper considers the interior and furnishing of a Revival dows, each with a triangular pediment over the flanking pilas- Bulgarian house built in 1863. The aim of this paper is to present the ar- ters. The portico is embellished with painted medallions (Fig. 1) chitecture and to give a closer overview of a part of the furniture collection belonging to this house: the French Empire style furniture set in the South and so are the window pediments. The steps lead the visitor to East drawing room of the upper floor. The aim is to perform the analysis the gate with two door leaves decorated with neoclassical oval of stylistic features as well as to make a hypothesis concerning the cabinet fan-shaped motifs. The entrance to the building is an official maker. gate centered in the middle column span under the upper floor Keywords – Revival townhouse, residential architecture, French Empire prolonged ahead to form a bay area. After climbing another set style, china display cabinet, tête-à-tête, armchair, guéridon. of stairs the visitor finds himself in a large hayat (or vestibule (Fig. 5)); opposite of the entrance a stair leads to the second floor. The vestibule on the second floor is much larger (Fig. 6), Plovdiv is a Bulgarian city keeping a rich legacy of Late Re- with a recess for the musicians built half a level higher over the vival townhouse architecture. -
ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s. -
Baroque Architecture
'"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated. -
Review of Caryatid Mirrors of Ancient Greece: Technical, Stylistic and Historical Considerations of an Archaic and Early Classical Bronze Series, by Lenore O
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1983 Review of Caryatid Mirrors of Ancient Greece: Technical, Stylistic and Historical Considerations of an Archaic and Early Classical Bronze Series, by Lenore O. Keene Congdon Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1983. Review of Caryatid Mirrors of Ancient Greece: Technical, Stylistic and Historical Considerations of an Archaic and Early Classical Bronze Series, by Lenore O. Keene Congdon. American Journal of Archaeology 87:279-281. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/23 For more information, please contact [email protected]. Caryatid Mirrors of Ancient Greece. Technical, Stylistic and Historical Considerations of an Archaic and Early Classical Bronze Series by Lenore O. Keene Congdon Review by: Brunilde Sismondo Ridgway American Journal of Archaeology, Vol. 87, No. 2 (Apr., 1983), pp. 279-281 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/504947 . Accessed: 07/02/2012 16:55 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. -
Art Concepts
ANCIENT ART - Greece Acropolis Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). Amphora A two-handled jar used for general storage purposes, usually to hold wine or oil. Archaic Smile In Archaic Greek sculpture, the smile sculptors represented on faces as a way of indicating that the person portrayed is alive. Atlant (Atlas) A male figure that functions as a supporting column. Black-Figure In early Greek pottery, the silhouetting of dark Painting figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. Capital The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order. Caryatid A female figure that functions as a supporting column. Cella The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. ANCIENT ART - Greece Centaur In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. Contrapposto The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. Corinthian Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells. -
This Copy Is for Personal Use Only - Distribution Prohibited
Miscellanea Anthropologica et Sociologica 2014, 15 (3): 119–133 Michael Vickers1 The Caryatids on the Erechtheum at Athens. Questions of chronology and symbolism It might be thought that little new could be said about the Erechtheum, a building that has been studied in great detail over the centuries. And yet, there are still many uncertainties surrounding its purpose, not least the reason for the distinctive southern Caryatid porch. The date at which the Erechtheum was built is also uncertain. Not that one would realise this from current scholarship; it is still widely believed that construction began in 421 BC after the Peace of Nicias; then work was suspended and resumed in 408 BC. I had already argued against this position in 1985 (Vickers 1985), but even though there have been some valuable subsequent studies (e.g. King 1998; Shear 1999; Rubel 2000: 271–286; Lesk 2004; 2007), I do not believe that my arguments have been satisfactorily met. I am grateful to my hosts in Gdansk for having provided the opportunity for another shot at the target, and for a restatement of the case that construction of the Erechtheum was only begun in 412 BC and that the Caryatid porch was intended to put current relations between Sparta and Persia in a bad light, in keeping with a tale told by Vitruvius. Key words: The Caryatids, the Erechtheum, Athens, Greek, architecture Whatever date construction of the Erechtheum began, however, it is clear that the Caryatid porch stood over the foundations of the peristyle of the Old Temple of Athena, a building that had been partially destroyed during the Persian sack of Athens in 480 BC. -
SOURCES and INFLUENCES Various Design Traditions And
SOURCES AND INFLUENCES Various design traditions and building technologies have been introduced, applied, and assimilated in the various forms of Philippine architecture. The Southeast Asian Tradition Anthropologists theorize that the cultures of Southeast Asia have a common root, as shown in similarities in their languages classified by linguists as belonging to the Austronesian language family. One of the world’s largest language families, it stretches more than halfway around the world from Easter Island, its easternmost distribution, to Madagascar, its westernmost. It encompasses the islands Southeast Asia, Micronesia, Polynesia, parts of the Malay Peninsula, South Vietnam, Taiwan, the coastal pockets of New Guinea, and, some theorize, Japan. The common culture revealed by these related languages can explain why similar features are found in Southeast Asia, namely, pile or post construction, saddleback roof, and decorative gable-finials shaped like carabao horns. The use of piles or stout posts to raise the floor of the ethnic house is seen, with variations all over the Philippines, both among lowland communities and tribal groups. The bahay kubo (nipa hut) is usually built with wooden posts as its framework. The four posts of the Ifugao house, which is both granary and home, is distinctive for circular rat guards, while the Maranao torogan (sleeping place) stands on stout log posts resting on round stones. Houses built on the sea, like the Badjao houses, are raised on slim posts or stilts. Although Philippine ethnic houses generally lack the graceful curve characteristic of saddleback roofs of the architecture of the Minangkabau in Sumatra or the noble houses at Lemo, Tana Toraja, Sulawesi, their hip roofs are closely related to the saddleback type. -
Ancient Greece Alexandros of IKTINOS 447–438 B.C
Ancient Greece Epigonos (?), Dying Gaul, 230 B.C. Alexandros of Antioch‐on‐the‐Meander, Venus de Milo, 150‐120 B.C. IKTINOS and KALLIKRATES , Parthenon, 447–438 BCE The Greek World Artistic Periods • Geometric (900‐600 B.C.) • Archaic (600‐480 B.C) • Early & High Classical (480‐400 B.C.) • Late Classical (400 – 323 B.C.) • Hellenistic (323‐30 B.C.) No other culture has had as far‐reaching or lasting an influence on art and civilization as that of ancient Greece. Geometric Period • Dates: ca. 900–600 BC; named because of the prevalence of geometric designs and patterns in the works of art. • Conceptual (stylized) representation of human figures. • Krater – ancient wide-mouthed bowl for mixing wine and water • Amphora – ancient Greek two-handled jar used for general storage purposes, usually wine or oil Krater vs Amphora DIPYLON PAINTER, Geometric amphora with Geometric krater, from the Dipylon cemetery, mourning scene, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE Athens, Greece, ca. 750 BCE. Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes, Greece, ca. 700–680 BCE Hero and centaur (Herakles and Nessos?), from Olympia,Greece, ca. 750–730 BCE Archaic Period • Dates: ca. 600 - 480 B.C. • Gradual change from Geometric style to the Archaic style. • It was influenced by the flowing forms and animals in Mesopotamian art. • There was a growing emphasis on the human figure. In a series of bands, reminiscent of geometric vases, native animals (boars) appear next to exotic lions and panthers as well as creatures inspired by eastern creatures like the sphinx and lamassu. -
Michael Vickers the Caryatids on the Erechtheum at Athens : Questions of Chronology and Symbolism
Michael Vickers The Caryatids on the Erechtheum at Athens : questions of chronology and symbolism Miscellanea Anthropologica et Sociologica 15/3, 119-133 2014 Miscellanea Anthropologica et Sociologica 2014, 15 (3): 119–133 Michael Vickers1 The Caryatids on the Erechtheum at Athens. Questions of chronology and symbolism It might be thought that little new could be said about the Erechtheum, a building that has been studied in great detail over the centuries. And yet, there are still many uncertainties surrounding its purpose, not least the reason for the distinctive southern Caryatid porch. The date at which the Erechtheum was built is also uncertain. Not that one would realise this from current scholarship; it is still widely believed that construction began in 421 BC after the Peace of Nicias; then work was suspended and resumed in 408 BC. I had already argued against this position in 1985 (Vickers 1985), but even though there have been some valuable subsequent studies (e.g. King 1998; Shear 1999; Rubel 2000: 271–286; Lesk 2004; 2007), I do not believe that my arguments have been satisfactorily met. I am grateful to my hosts in Gdansk for having provided the opportunity for another shot at the target, and for a restatement of the case that construction of the Erechtheum was only begun in 412 BC and that the Caryatid porch was intended to put current relations between Sparta and Persia in a bad light, in keeping with a tale told by Vitruvius. Key words: The Caryatids, the Erechtheum, Athens, Greek, architecture Whatever date construction of the Erechtheum began, however, it is clear that the Caryatid porch stood over the foundations of the peristyle of the Old Temple of Athena, a building that had been partially destroyed during the Persian sack of Athens in 480 BC. -
A Hellenistic Statue and Its Ancient Restoration L’Éros Endormi De New York, Une Statue Hellénistique Et Sa Restauration Antique
Technè La science au service de l’histoire de l’art et de la préservation des biens culturels 45 | 2017 Bronzes grecs et romains : études récentes sur la statuaire antique The New York Sleeping Eros: A Hellenistic Statue and Its Ancient Restoration L’Éros endormi de New York, une statue hellénistique et sa restauration antique Seán Hemingway and Richard Stone Electronic version URL: http://journals.openedition.org/techne/1266 DOI: 10.4000/techne.1266 ISSN: 2534-5168 Publisher C2RMF Printed version Date of publication: 1 May 2017 Number of pages: 46-63 ISBN: 978-2-7118-6408-9 ISSN: 1254-7867 Electronic reference Seán Hemingway and Richard Stone, « The New York Sleeping Eros: A Hellenistic Statue and Its Ancient Restoration », Technè [Online], 45 | 2017, Online since 19 December 2019, connection on 10 December 2020. URL : http://journals.openedition.org/techne/1266 ; DOI : https://doi.org/10.4000/ techne.1266 La revue Technè. La science au service de l’histoire de l’art et de la préservation des biens culturels est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Bronzes grecs et romains : études récentes sur la statuaire antique TECHNÈ n° 45, 2017 Fig. 1. Front view of Statue of Sleeping Eros, Greek, Hellenistic period, 3rd-2nd century B.C. Bronze. Length 85,4 cm. The Metropolitan Museum of Art, New York, Rogers Fund, 1943 (43.11.4). © The Metropolitan Museum of Art. Techne_n45_2.indd 46 23/11/2017 11:56 TECHNÈ n° 45, 2017 Bronzes grecs et romains : études récentes sur la statuaire antique Seán Hemingway The New York Sleeping Eros: Richard Stone A Hellenistic Statue and Its Ancient Restoration L’Éros endormi de New York, une statue hellénistique et sa restauration antique Abstract.