scholarly journals Architecture of Jesuit Churches in the Former Polish-Lithuanian Commonwealth, 1564–1773

2018 ◽  
Vol 5 (3) ◽  
pp. 352-384
Author(s):  
Andrzej Betlej
Keyword(s):  
Eighteenth Century ◽  
Homogeneous Element ◽  
The Third ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Subject ◽  
Relative Decline

The article presents the history and accomplishments of Jesuit architecture in the Polish-Lithuanian Commonwealth from the late sixteenth to the late eighteenth century. The author sees Jesuit architecture as a distinct and homogeneous element within Polish architecture. The paper starts with a brief presentation of the existing research in the subject. It moves on to enumerate the activities of the Society in the field of construction, divided into three major booms: the first roughly between 1575 and 1650, the second between 1670 and 1700, and the third from 1740 to 1770, divided by periods of relative decline caused by a succession of devastating wars. The paper identifies the most important architects involved in the construction of Jesuit churches, as well as their most notable works. The paper ends with a brief note concerning the fate of the Jesuit churches after the suppression of the Society and the partitions of Poland.

Noi credevamo (We Believed): Story and history of emotions

2021 ◽  
Vol 9 (2) ◽  
pp. 211-223 ◽  
Author(s):  
Alejandro Patat
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
History Of Emotions ◽  
Historical Film ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
History Of ◽  
The Subject ◽  
New Interpretation ◽  
The One

In the last ten years, Noi credevamo (We Believed) (Martone 2010) has been the subject of a very careful criticism interested not only in its historical-ideological implications but also in its semiotic specificities. The purpose of this article is to summarize the cardinal points of these two positions and to add to them some critical observations that have not been noted so far. On the one hand, it is a matter of highlighting how, as a historical film, the work is connected with the history of emotions, a recent historiographical trend that aims to detect the narrative devices of ideological propaganda and the diffusion of feelings since the late eighteenth century. On the other hand, the article proposes a new interpretation of Mario Martone’s film, starting with the analysis of phenomena that are not only historical but also technical and structural.

Can One Speak of Narrativity in Music?

1990 ◽  
Vol 115 (2) ◽  
pp. 240-257 ◽  
Author(s):  
Jean-Jacques Nattiez
Keyword(s):  
Eighteenth Century ◽  
New Hampshire ◽  
Round Table ◽  
Dartmouth College ◽  
Annual Conference ◽  
Narrative Strategies ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
French Speaking ◽  
The Subject

The question of musical narrativity, while by no means new, is making a comeback as the order of the day in the field of musicological thought. In May 1988 a conference on the theme ‘Music and the Verbal Arts: Interactions’ was held at Dartmouth College, Hanover, New Hampshire. A fortnight later, a group of musicologists and literary theorists was invited to the Universities of Berkeley and Stanford to assess, in the course of four intense round-table discussions, whether it is legitimate to recognize a narrative dimension in music. In November of the same year, the annual conference of the American Musicological Society in Baltimore presented a session entitled ‘Text and Narrative’, chaired by Carolyn Abbate, and, at the instigation of Joseph Kerman, a session devoted to Edward T. Cone's The Composer's Voice. A number of articles deal with the subject in our specialized periodicals: I am thinking in particular of the studies published in 19th-Century Music by Anthony Newcomb – ‘Once More “Between Absolute and Programme Music”: Schumann's Second Symphony’ and ‘Schumann and Late Eighteenth-Century Narrative Strategies’ – or, on the French-speaking side of musicology, of Marta Grabocz's article ‘La sonate en si mineur de Liszt: une stratégie narrative complexe’ and the essays of the Finnish semiologist Eero Tarasti. No doubt a good many articles will emerge from the above conferences. And we are awaiting the appearance of Carolyn Abbate's book Unsung Voices: Narrative in Nineteenth-Century Music.

James Byres of Tonley: Jacobites and Etruscans

2010 ◽  
Vol 30 (2) ◽  
pp. 261-274
Author(s):  
Peter Davidson
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Art History ◽  
History Of Archaeology ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Art Dealers ◽  
History Of ◽  
The Subject

James Byres of Tonley (1734–1817) is a pivotal figure in many respects, whose life as a virtuoso has been the subject of exemplary scholarship in the fields of art history and the history of archaeology. For three decades, he was close to the centre of the circle of artists, antiquarians and art-dealers who guided and advised the grand tourists and student artists visiting Rome, then the unchallenged capital of the visual arts worldwide. His fortunes, and those of his family, are typical of those of the last generation of Aberdeenshire Catholics before the Relief Acts of the late eighteenth century and the death of Henry Benedict, Cardinal York, in 1807. Like many Scots, whose cultural or military achievements were enacted in continental exile, he is not particularly remembered nor celebrated in Scotland itself.

Opposition in late eighteenth-century Ireland: the case of the Townshend viceroyalty

1981 ◽  
Vol 22 (88) ◽  
pp. 313-330 ◽  
Author(s):  
Thomas Bartlett
Keyword(s):  
Eighteenth Century ◽  
Free Trade ◽  
The Other ◽  
Political Life ◽  
The Third ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Way

Political life in Ireland in the third quarter of the eighteenth century was disturbed by three major opposition campaigns. From 1753 to 1756 there was the so-called money bill dispute in which Henry Boyle (later first earl of Shannon) mounted a formidable and largely successful opposition to the designs of the Dublin Castle administration for replacing him as chief undertaker. The years 1769-71 saw a noisy but ineffective opposition to Viscount Townshend’s plans for re-modelling the way Ireland was governed. And from 1778 to 1783 there was the famous patriot opposition led by Henry Grattan and Henry Flood which won for Ireland ‘a free trade’ and the ‘constitution of ’82’ The first and last ofthese opposition campaigns have been studied in detail; but the opposition to Townshend has been comparatively neglected, perhaps because the result was so unequivocally a victory for the Castle and hence less ‘heroic’ in its outcome than the other two campaigns. This paper sets out in the first instance to correct this imbalance by examining the reasons for the failure of the Irish opposition to Townshend.

scholarly journals Foucault, Ferguson, and civil society

2015 ◽  
pp. 36-51 ◽  
Author(s):  
Samantha Ashenden
Keyword(s):  
Eighteenth Century ◽  
Civil Society ◽  
Political Discourse ◽  
Scottish Enlightenment ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Subject ◽  
Per Se ◽  
Way Of Thinking

In contrast to those who trace civil society to “community” per se, Foucault is keen to locate this concept as it emerges at a particular moment in respect of specific exigencies of government. He suggests that civil society is a novel way of thinking about a problem, a particular problematization of government that emerges in the eighteenth century and which combines incommensurable conceptions of the subject as simultaneously a subject of right and of interests. This article takes up Foucault’s discussion of the Scottish Enlightenment in The Birth of Biopolitics to trace the distinctiveness of his discussion of civil society, but also in order to suggest that we ought to pay closer attention to the tensions between commercial-civilizational and civic republican themes in the literature of the late eighteenth century than does Foucault. It is my tentative suggestion that Foucault’s account leaves out significant aspects of these debates that offer counter-valences to the dominant models of the subject available to contemporary political discourse.

scholarly journals The Paradox of Kant’s Transcendental Subject in German Philosophy in the Late Eighteenth Century

2020 ◽  
Vol 39 (2) ◽  
pp. 7-25
Author(s):  
M. V. Rouba
Keyword(s):  
Eighteenth Century ◽  
Critique Of Pure Reason ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Thing In Itself ◽  
The Status ◽  
The Subject ◽  
Transcendental Object ◽  
Subject Of Cognition ◽  
Relationship Of

The study of the “first wave” of reactions to the Critique of Pure Reason in Germany from the second half of the 1780s until the beginning of the nineteenth century reveals the paradoxical status of the Kantian transcendental subject. While the existence of the transcendental subject, whatever the term means, is not open to question since it arises from the very essence of critical philosophy, the fundamental status of the subject is sometimes questioned in this period. Although the meaning of the concept of transcendental subject seems obvious today (the subject of cognition, bearer of transcendental conditions of experience) it lends itself to various interpretations in the late eighteenth century. To achieve my goal I have undertaken a textological analysis of the works of the earliest opponents and followers of the Kantian critique and a reconstruction of the conceptual field in the midst of which the transcendental subject has been planted. Among others I draw on the works of J. S. Beck, J. A. Eberhard, J. G. Hamann, F. H. Jacobi, S. Maimon, K. L. Reinhold, G. E. Schulze and A. Weishaupt. The authors of the period are grouped depending on the common themes and questions that prompted them to turn to the concept of the transcendental subject, even though the results of their reflections did not always coincide. These authors think of the transcendental subject in its relationship to the transcendental object, or as “something = х”, and in terms of the relationship of representation to the object. It is characterised sometimes as something absolutely hollow, and sometimes as the fullness of true reality. The status ascribed to the transcendental subject is sometimes that of a thing-in-itself and sometimes that of a “mere” idea. Finally, Kant’s transcendental subject was sometimes seen as something to be overcome and sometimes as an infinite challenge to understanding.

Introduction

2017 ◽  
Author(s):  
Ingrid Tieken-Boon van Ostade
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
General Public ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Subject

Usage guides are an extremely popular genre, as is evident from new titles being published year after year and established ones being revised and reprinted. They are a marketable product, as both writers and publishers know. The genre did not start with Fowler, despite what many people think; it has a long history going back to the late eighteenth century. Usage advice today is also found online, while it was already the subject of satire in Punch during the nineteenth century. Yet how many usage problems there are is something authors—journalists, writers, but also linguists—show no consensus on. Usage problems come and go, and attitudes to them, expressed both by the general public and by usage guide writers, are found to change over the years. Some works remain remarkably conservative, which appears to be what is desired by readers who often feel insecure about what exactly proper English is.

Reading Henry Tresham's Theatre Curtain: Metastasio's Apotheosis and the Idea of Opera at London's Pantheon

2019 ◽  
Vol 31 (1) ◽  
pp. 26-62
Author(s):  
Michael Burden
Keyword(s):  
Eighteenth Century ◽  
Visual Material ◽  
Late Eighteenth Century ◽  
The Press ◽  
Late Eighteenth ◽  
Music Of The Spheres ◽  
The Subject ◽  
Opera House ◽  
Pietro Metastasio

AbstractWhen London's new Pantheon Opera opened in 1791, the artist Henry Tresham, not long returned from Italy, was paid to paint the ceiling and proscenium of the new auditorium and to provide a drop curtain. The curtain provided a focus for the new institution's aspirations and for the audience's attention on those inspirations when they arrived at the theatre. Its elaborate nature – the zodiac, the music of the spheres, ancient and modern composers, the passions, and with a centrepiece of the apotheosis of Pietro Metastasio – was the subject of a series articles in the press explaining the curtain's allegory. All visual material was thought to be lost, but the recent identification of a preparatory watercolour of the apotheosis has offered an opportunity to re-examine both its place in the context of late eighteenth-century iconography and the place of Metastasio in the late eighteenth-century London opera house.

scholarly journals Analiza kartografske projekcije karte Nova Lusitania

2021 ◽  
Vol 20 (35) ◽  
pp. 48-69
Author(s):  
Paulo Márcio Leal de Menezes ◽  
Kairo da Silva Santos ◽  
Miljenko Lapaine ◽  
José Gomes dos Santos ◽  
Manoel do Couto Fernandes ◽  
...  
Keyword(s):  
Eighteenth Century ◽  
Map Projection ◽  
Equal Area ◽  
El Hierro ◽  
Orthographic Projection ◽  
Late Eighteenth Century ◽  
Greenwich Meridian ◽  
Late Eighteenth ◽  
Bibliographic Search ◽  
The Subject

The map named Carta Geographica de Projecçaõ Espherica Orthogonal da Nova Lusitania ou America Portugueza e Estado do Brazil from 1798, together with its 1795 (?), 1797 and 1803 versions, is undoubtedly one of the cartographic monuments developed by Portuguese cartography from the late eighteenth century. Its organizer was the geographer, astronomer, and frigate captain Antonio Pires da Silva Pontes Leme, who relied on the work of 34 people, including astronomers, geographers, and engineers, who, although only mentioned in the 1798 version, contributed to the creation of all versions. All of them are similar in appearance, but differ in size, content, details, amount, and distribution of toponyms, which will be the subject of another paper. The greatest similarity, however, concerns the defined map projection. The objective of this paper is to analyse and present the possible hypotheses and conclusions about which map projection was adopted for all versions of Nova Lusitania, through the identification of characteristics that allowed to infer and prove the adopted projection. The applied methodology verified that in the bibliographic search, the information about the map structure is insufficient. An article presented by General Djalma Polli Coelho in October 1950 states that the projection suggested by its title, as orthogonal spherical, appeared to be the Sanson-Flamsteed equal-area projection. However, the expression Carta Geographica de Projecçaõ Espherica Orthogonal allows us to infer also the transverse orthographic projection. Through parameters defined for the two projections, it was possible to establish the comparative elements for a cartographic analysis, which would allow us to conclude and prove the structure adopted for the map, allowing to conclude if the adopted projection for the Nova Lusitania was an azimuthal orthographic equatorial projection, or a Sanson-Flamsteed, sinusoidal projection on the meridian 315°, defined west-east, (counterclockwise), from the El Hierro (Ferro) Island. This meridian is referenced approx. –62°39'46" off the Greenwich meridian.

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