The Aesthetic Mediation

2018 ◽  
pp. 103-142
Author(s):  
Richard Viladesau
Keyword(s):  
Emotional Stress ◽  
Church Music ◽  
Roman Catholic ◽  
Romantic Period ◽  
Protestant Church ◽  
The Aesthetic

New texts and styles predominated in the period following Bach’s settings of the passion. In Protestant church music, more poetic and operatic settings became common, with more emotional stress. Roman Catholic passion music centered on the genre of the sepolcro, with meditations on the reactions of Jesus’ disciples to his suffering and death. The Romantic period produced only a few great works centered on the passion.

Russian aesthetics

2018 ◽  
Author(s):  
Victor Terras
Keyword(s):  
Seventeenth Century ◽  
Social Background ◽  
Roman Catholic ◽  
Art Music ◽  
Music And Literature ◽  
Religious Texts ◽  
Russian Art ◽  
Nineteenth And Twentieth Centuries ◽  
The Aesthetic ◽  
Architecture And Music

Aesthetics as a branch of philosophy, or in the sense of an explicitly stated theory of art, appeared in Russia no earlier than the seventeenth century, under the direct influence of Western thought. It developed in connection with the adoption of European art forms. Russian contributions in terms of original styles in all forms of art, as well as of certain aesthetic notions which may be credited to Russia, came in the nineteenth and twentieth centuries and must be understood in context with European art and aesthetic thought. Russian art, music and literature, as well as the aesthetic notions guiding them, get their Russianness from the political and social background, a major factor in literature, and from a carrying over of traits found in Russian folk art, folk music and folklore, as well as in religious texts, iconography, architecture and music, whose Orthodox version is sharply distinct from their equivalents in the Roman Catholic West.

The Aesthetic Mediation

2018 ◽  
pp. 143-200
Author(s):  
Richard Viladesau
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
The Other ◽  
Romantic Period ◽  
Popular Piety ◽  
Biblical Scholarship ◽  
Other Hand ◽  
The Cross ◽  
The Aesthetic ◽  
Naturalistic Realism

In the visual arts of the Romantic period the crucifixion of Christ often became a representation of the sufferings of humanity. Caspar David Friedrich’s paintings placed the cross in the context of the immensity of nature. Toward the end of the nineteenth century there was an increasing tendency to portray Jesus’ suffering in the genre of naturalistic realism. Some painters consciously attempted to incorporate the findings of modern biblical scholarship, rather than follow traditional models. Early film representations, on the other hand, tended to rely on classical types and popular piety.

Dandy Socialism

Maska ◽  
2017 ◽  
Vol 32 (185) ◽  
pp. 134-140 ◽  
Author(s):  
Lev Kreft
Keyword(s):  
Nineteenth Century ◽  
Mass Culture ◽  
The Novel ◽  
Romantic Period ◽  
Daily Newspapers ◽  
Political Position ◽  
Class Society ◽  
Aesthetic Field ◽  
Young Hegelians ◽  
The Aesthetic

‘It was a dark and stormy night...’ with these words Edward Bulwer-Lytton began his 1830 novel Paul Clifford. ‘Le 13 décembre 1838, par une soirée pluvieuse et froid’ are the words with which Eugène Sue begins his novel The Mysteries of Paris, its narrative following a ‘conceptual’ introductory address to the reader. There are many more features connecting these two popular literary pieces of the Romantic period. In-between, a new genre emerged – the melodramatic social(ist) novel – together with new means of communication, i.e. the novel feuilleton that was printed in daily newspapers. This subtle form of censorship suggests that a genre believed to be melodramatically mediocre had an excessive aestheticopolitical attractiveness. Eugène Sue was a star writer of nineteenth century bestsellers novels–feuilletons during the period between the two revolutions of 1830 and 1848. Afterwards he practically fell into oblivion and was barely mentioned in the company of ‘serious’ writers like Balzac and Hugo or Dickens and Thackeray, all of whom, however, took his allegedly mediocre melodramatic and popular narratives as cases to be followed. His temporary fame was confirmed by the response of Bruno Bauer’s group of young Hegelians, who found in Sue’s literary attractiveness a philosophical solution for all the mysteries and conflicts of the period. Marx’s criticism of their philosophical and political position in The Sacred Family includes a lengthy and thorough criticism of their ‘philosophical’ readings of the novel, of the novel itself, and of their and Sue’s understanding of the new bourgeois reality. Among other points, Sue’s alleged socialism is described with the help of a comparison between the police and the moral police. Can we, along with a re-establishment of the context of The Mysteries of Paris, leave behind the critique of ideology and the literary critique of popular and mass culture in order to bring back into the aesthetic field this melodramatic narrative of class society and to re-establish the politics of its aesthetics?

An ‘Unnatural Alliance’ for Religious Toleration: The Philosophes and the Outlawed Pastors of the ‘Church of the Desert’

1973 ◽  
Vol 42 (4) ◽  
pp. 505-523
Author(s):  
John Dunning Woodbridge
Keyword(s):  
Eighteenth Century ◽  
Roman Catholic ◽  
Religious Toleration ◽  
Life Imprisonment ◽  
Southern France ◽  
Protestant Church ◽  
Religious Services ◽  
History Of ◽  
Reformed Churches ◽  
The Church

The struggles and sacrifices of those pastors and laymen who reconstructed the Reformed churches in southern France during the eighteenth century compose one of the intriguing chapters of the history of the “Church of the Desert.” Members of an outlawed Protestant church in a country which was overwhelmingly Roman Catholic by religion, these pastors and their flocks ran great risks in holding open-air religious services in the secluded and rugged countryside of the Midi—or the “Desert”—in southern France. Attendance at their services was punishable by perpetual service in the king's galleys for the men and life imprisonment for the women; the Reformed pastors who led these meetings did so on pain of death. Not a few of these Calvinists suffered extreme physical and mental anguish because of their obstinate refusal to abandon the faith of their fathers.

The Movement in Roman Catholic Church Music

1930 ◽  
Vol 71 (1052) ◽  
pp. 921
Author(s):  
E. A. Maginty
Keyword(s):  
Catholic Church ◽  
Church Music ◽  
Roman Catholic ◽  
Roman Catholic Church
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