scholarly journals Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past

2019 ◽  
Vol 66 (1 SELECTED PAPERS IN ENGLISH) ◽  
pp. 19-31
Author(s):  
Barbara Niebelska-Rajca
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Avant Garde ◽  
The Past ◽  
Polish Version ◽  
Dominant Tendency ◽  
Late Renaissance ◽  
Theoretical Reflection ◽  
Present Text

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

Tree-Ring-Based Spring Temperature Patterns over the Past Four Centuries in Western Himalaya

2002 ◽  
Vol 57 (3) ◽  
pp. 299-305 ◽  
Author(s):  
Ram R. Yadav ◽  
Jayendra Singh
Keyword(s):  
20Th Century ◽  
Tree Ring ◽  
Ring Width ◽  
Western Himalaya ◽  
Temperature Reconstruction ◽  
17Th Century ◽  
Spring Temperature ◽  
Cedrus Deodara ◽  
The Past ◽  
Western Himalayan Region

AbstractA network of 12 tree-ring width chronologies of Himalayan cedar (Cedrus deodara) from the western Himalayan region, India, has been used to reconstruct mean spring (March–May) temperature variations back to A.D. 1600. The most conspicuous feature of the temperature reconstruction is the long-term cooling trend since the late 17th century that ended early in the 20th century. The warmest 30-yr mean for the 20th century was recorded during 1945–1974. However, this warming, in the context of the past four centuries is well within the range of natural variability, since warmer springs of greater magnitude occurred in the later part of the 17th century (1662–1691).

The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century

2019 ◽  
Vol 2 (12) ◽  
pp. 199-216
Author(s):  
Maryla Renat
Keyword(s):  
20Th Century ◽  
Sound Production ◽  
Final Conclusion ◽  
Formal Concept ◽  
Avant Garde ◽  
The Third ◽  
Individual Concept ◽  
The Past ◽  
The Subject ◽  
Composition Technique

The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.

Printing, Patronage and Prayer: Art Historical Issues in Three Responsa

Images ◽  
2007 ◽  
Vol 1 (1) ◽  
pp. 91-97
Author(s):  
Vivian Mann ◽  
Daniel Chazin
Keyword(s):  
20Th Century ◽  
New Technology ◽  
17Th Century ◽  
16Th Century ◽  
Historical Issues ◽  
The Impact

Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.

scholarly journals Between autonomy of music and the composer’s autonomy. Notes on modernisms and traditionalisms in Slovenian music of the 20th century

Muzikologija ◽  
2006 ◽  
pp. 117-145
Author(s):  
Leon Stefanija
Keyword(s):  
20Th Century ◽  
Past Century ◽  
Musical Culture ◽  
Complex Issue ◽  
Avant Garde ◽  
The Past ◽  
Musical Heritage

The aim of this article is to examine the relations between the old and the new in the context of 20th-century Slovenian music. The question about the old and the new is seen not only as a question of different facets of an age-old opposition, but also as a complex issue of the epistemological contextualization of those different facets. Centered on the main historiographical entries ? the avant-garde, modernity, traditionalism, and post-modernity ?, the outline of the 20th-century Slovenian musical culture endeavors to point out what is a common problem of the Western musical heritage from the past century: the problem of defining constituents of the old and the new within different epistemological contexts.

scholarly journals AVANT-GARDE MEXICAN REVOULTIONARY NATIONALISM: UNIVERSALIZATION OR COSMOPOLITANIZATION ? DAVID ALFARO SIQUEIROS’ “THREE CALLS…” AND MANUEL MAPLES ARCE’S ACTUAL NO. 1 (1921)

ARTis ON ◽  
2018 ◽  
pp. 57-66
Author(s):  
David Murrieta Flores
Keyword(s):  
20Th Century ◽  
Mexican Revolution ◽  
Natural Order ◽  
International Context ◽  
Avant Garde ◽  
The Past ◽  
Specific Relationship

This essay compares two foundational manifestos of the Mexican 20th century avant-garde, both from 1921: David Alfaro Siqueiros’ “Three calls…” and Manuel Maples Arce’s Actual No. 1. Resulting from the ideological milieu of the Mexican Revolution, these texts contain distinct proposals to think about the place of the nation within an international context, after the successful entry of Mexico to modernity via revolution. In the muralist Siqueiros’ case, to think the Mexican nation implies a process of what he calls ‘universalization’, and which is driven primarily by a classical understanding of the ‘natural order’ and a specific relationship to the past. In the estridentista Maples Arce’s case, his call for a ‘cosmopolitanization’ derives from the notion that modernity is an implacable process, the access to which necessitates no relationship to the past and which rejects the ‘natural order’ in favor of a conception of the modern as urban.

scholarly journals Salik Buta: Aliran Tasawuf Aceh Abad XX

2008 ◽  
Vol 42 (1) ◽  
pp. 177-198
Author(s):  
Misri A Muchsin
Keyword(s):  
20Th Century ◽  
Golden Age ◽  
17Th Century ◽  
Primary Sources ◽  
16Th Century

This article examines the Sufi movement in Aceh by looking at its continuity since the 16th -17th century, as its golden age, to the 20th century. Based on the fact that Abdullah Ujong Rimba's explanation is considered representative, his books are taken as primary sources while others are secondary. Based on Abdullah Ujong Rimba's explanation, Salik Buta is a sect of Sufism in Aceh in the 20th century. This sect is practiced in several of center in Aceh. Historically, the doctrine of this sects is continuation and modification of Wahḍat al-Wujūd's  doctrines established since 16th century. The doctrine of Salik Buta are different from those of popular Sufism. Thus, Salik Buta is considered heterodox and criticized by ulama, as Abdullah Ujong Rimba. From Abdullah Ujong RImba's criticism, it can be conclude that his thought based on syari'at or Fiqih orientation, instead of the perspective of Sufism.

scholarly journals POPULATION CHANGES IN OTTOMAN ANATOLIA DURING THE 16TH AND 17TH CENTURIES: THE “DEMOGRAPHIC CRISIS” RECONSIDERED

2004 ◽  
Vol 36 (2) ◽  
pp. 183-205 ◽  
Author(s):  
Oktay Özel
Keyword(s):  
Ottoman Empire ◽  
Quantitative Data ◽  
Demographic History ◽  
17Th Century ◽  
Population Pressure ◽  
16Th Century ◽  
Central Theme ◽  
Population Changes ◽  
The Past ◽  
History Of

The historiography of the past two decades of the demographic history of 16th- and 17th-century Ottoman Anatolia has seen diverse and often conflicting arguments among historians. Whether the Ottoman Empire witnessed “population pressure” in the 16th century, and whether this was followed in the 17th century by a serious “demographic crisis,” considered by some historians as a “catastrophe,” have constituted the central theme of the debate. The roots of these issues can be traced as far back as the early works of Ömer Lütfi Barkan in the 1940s and 1950s. It appears that the disagreements not only arose as a result of the different models of historical demography developed by diverse schools of thought, but that they also owed much to the highly disputed nature of the sources that provide the bulk of quantitative data for the demographic history of the Ottoman Empire.

scholarly journals The Orthodox Sermon in the Polish-Lithuanian Commonwealth of the 17th Century: Some Observations

Slovene ◽  
2017 ◽  
Vol 6 (2) ◽  
pp. 578-596
Author(s):  
Margarita A. Korzo
Keyword(s):  
Present Article ◽  
Textual Analysis ◽  
17Th Century ◽  
16Th Century ◽  
Orthodox Church ◽  
Polish Version ◽  
Orthodox Theology ◽  
The Given ◽  
First Time ◽  
The Church

It has traditionally been assumed that the oral preaching practice of the Orthodox Church in Poland at the turn of the 16th and 17th centuries was brought to life by external and mainly Catholic influences. The present article attempts to rethink these influences and offer an explanation not in terms of “mechanical” borrowings and a succumbing of Orthodox theology to Western influences (the concept of “pseudomorphosis” articulated by G. Florovsky), but rather in terms of a creative response to the external confessional challenges of the epoch (the concept of “polymorphism” proposed by G. B. Bercoff). Examples of such a reception are the sample sermons on the church sacraments and funeral sermons included as an annex to Orthodox rituals. Published for the first time in the Vilnius edition in 1621, texts of this kind were legitimized by Metropolitan of Kiev Piotr Mogila in his Euhologion of 1646. Instructive sermons from the Polish version of the Roman Ritual, which go back to the 16th-century teachings on the church sacraments by S. Karnkowski, M. Kromer, and H. Powodowski, were used as models for these Orthodox sample sermons. Although the idea to incorporate such sample sermons in Orthodox rituals was inspired by the Polish tradition, this does not mean that the Orthodox authors also borrowed the instruction texts from the Catholic rituals. As an example of borrowings, the article analyzes the “Kazanie na pogrebe” from the Vilnius Ritual, 1621. Textual analysis of the given sermon shows its compositional and, partially, even its substantial dependence on a sermon written by a Polish Dominican, W. Laudański (1617), and also its familiarity with Augustine’s theological legacy, which was available only in Latin editions.

scholarly journals Iconostasis in the Liturgical and Church-Historical Contexts

2019 ◽  
Vol 16 (5) ◽  
pp. 488-493
Author(s):  
Margarita M. Loyevskaya
Keyword(s):  
20Th Century ◽  
16Th Century ◽  
The Past ◽  
Military Campaigns ◽  
Ancient Times ◽  
Stationary Conditions ◽  
Big House ◽  
Liturgical Practice ◽  
Set Up

The article deals with study and attribution of rare portable iconostases (“movable church”). Their features include the Sovereign tier (with the Royal Doors) absence, the small size, and the four remaining tiers (Deisis, Great Feasts, Prophets, and Patriarchs) painted on one board. Portable iconostases were used during long pilgrimages, missionary trips, or military campaigns, as well as in Bezpopovtsy (priestless) houses of worship.In liturgical practice, both in ancient times and now, portable iconostases were used under certain circumstances for long journeys. They are easy to set up in any place, whether it is a house, a tent or a field. In the 16th century, embroidered iconostases, rapidly installable in field and stationary conditions, were brought along in military campaigns. Thus, in his military campaigns, Emperor Alexander I used a silk-painted iconostasis made by masters of the Moscow Kremlin Armory. Movable chur­ches were also used in remote and sparsely populated areas (for example, in the Olonets Governorate). The services were held in a big house and lasted for two or three days.There were quite a lot of portable iconostases in the past, but only few of them have been preserved, among which there are rather peculiar ones, shaped as cupboards, nightstands, kiots. At the beginning of the 20th century, an iconostasis icon was painted with five tiers on one board.

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