The Aesthetics of Roman Eighteenth-century Sculpture: 'Late Baroque', 'Barochetto' or 'A Discrete Art Historical Period'? (The Eleventh Horst Gerson Lecture, held on November 8, 2001)

2001 ◽  
Author(s):  
Jennifer Montagu
Keyword(s):  
Eighteenth Century ◽  
Historical Period

Introduction: The Crisis of the Baroque

2019 ◽  
pp. xviii-23
Author(s):  
John D. Lyons
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
European Society ◽  
Performing Arts ◽  
Historical Period ◽  
The World ◽  
European Colonization

Baroque is often considered as a category of style specific to the historical period extending roughly from the mid-sixteenth century to the mid-eighteenth century. The term “baroque” has also been applied to later periods, frequently with regard to works in the visual, musical, and performing arts as well as in literature, in which similar style markers appear. This entry, like several others in this volume, argues that the Baroque, as historical period, can also be fruitfully understood as a massive challenge of organization occasioned by geographic and scientific discoveries as well as by religious reformations. There are traits of the Baroque throughout the European society of this period and, as a consequence of European colonization of other continents, throughout the world.

Systems of Life, or Bioeconomic Politics

2018 ◽  
pp. 1-34
Author(s):  
Richard A. Barney ◽  
Warren Montag
Keyword(s):  
Eighteenth Century ◽  
Michel Foucault ◽  
The Political ◽  
Biological Knowledge ◽  
Historical Period ◽  
Giorgio Agamben ◽  
Economic Values ◽  
Or Management ◽  
Late Eighteenth ◽  
Economics And Politics

This collection of essays takes its cue from the ascendancy of system in dicated by Adam Smith’s work in order to articulate a framework in which to grasp the complex relations among biological knowledge, economics, and politics in Europe and its colonies from the mid–eighteenth century to the mid–nineteenth. In these terms, this volume aims to draw on recent scholarly accounts of the significance of system in Renaissance and Enlightenment contexts in order to reevaluate the importance of the systematic to biopolitical theory, which has paid particular attention to the importance of this historical period, especially in the case of analysts such as Michel Foucault, Giorgio Agamben, and Roberto Esposito. Considered as a whole, the essays in this volume can therefore be taken as an argument that the concept of “system” can help specify all the more concretely the ways that the “bio” was articulated in relation to the “political” in late eighteenth- and early nineteenth-century biopolitics, with “economy” serving as a useful mediating term between them by offering a way to articulate their “order” as a matter of exchange, valuation, or management. Given Smith’s remark about the “beauty” of systems, moreover, it is no accident that several of the essays in this volume examine the relevance of aesthetic production—whether poetry, fiction, comedy, or visual art—to the deployment of economic values in relation to both biological and political spheres.

scholarly journals EDITORIAL

2005 ◽  
Vol 2 (1) ◽  
pp. 3-5
Author(s):  
THOMAS CHRISTENSEN
Keyword(s):  
Eighteenth Century ◽  
Music History ◽  
The Other ◽  
Historical Period ◽  
Italian Opera ◽  
Opera Buffa ◽  
The One ◽  
Intractable Problem

In the inaugural issue of this journal James Webster offered us a thoughtful meditation on the hoary, and seemingly intractable, problem of configuring the eighteenth century so that it might constitute an intelligible subject of musicological research (‘The Eighteenth Century as a Music-Historical Period?’, Eighteenth-Century Music 1/1 (2004), 47–60). Clearly, we have come a long way from the time when eighteenth-century music was oriented almost exclusively around the grand Olympian peaks of High Baroque and Viennese Classical styles. If these dominating polarities have not entirely disappeared from our view, they certainly seem to loom far less large in our remapped musical landscape. Indeed, I can think of no other century in music history whose stylistic contours have been so dramatically redrawn as those of the eighteenth century. Of course we would err in the other direction by depicting – to continue my geographical metaphor – only a flattened, homogeneous musical landscape in the eighteenth century, covered with galant-type foliage nurtured in the hothouse of Italian opera buffa. As Webster has convincingly argued, there are still major protruberances jutting out from the first and final thirds of the century that need somehow to be taken into account in our surveys. Still, there is no question that the revised topographies little resemble the one we learned (and still might teach) from our textbooks. Some major tectonic shifts have taken place in eighteenth-century musical studies, even if those shifts have yet to settle down fully into any figuration that enjoys consensus among music historians.

Le dinastie italiane e la guerra delle Fiandre

2009 ◽  
pp. 423-443
Author(s):  
Angelantonio Spagnoletti
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Historical Period ◽  
Military Experience ◽  
Don Giovanni ◽  
Fighting Spirit ◽  
Important Position ◽  
The Military

- In this essay the author deals with the Italian princes and noblemen who took part in the war of the Flanders. In the second half of the eighteenth century and the first half of the nineteenth century the nationalist historiography considered them as the only men who were still able to preserve the honour of a nation ruled by the sovereigns who were subject to Spain. Emanuele Filiberto, Alessandro Farnese and Ambrogio Spinola were good examples of an invincible fighting spirit. In fact, the Italians held an important position in the multinational Spanish army; many southern princes and barons often went to the Flanders with their families. In many cases they had received the baptisim of fire under the orders of don Giovanni of Austria, during the historical period starting from the battle of Lepanto to the conquest of Tunis, The author emphasizes that the presence of many foreign princes and noblemen in the military encampments and battlefields of the Flanders forced them to follow precise and codified rules of behaviour belonging to the courtly world. Such rules couldn't be avoided. Moreover, the military experience abroad had a deep effect on their future destiny. The Kings'gratitude towards the Italians who returned from the Flanders was rewarded with public posts and honours, however it was limited due to the fact that those had been foreign battles.

THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?

2004 ◽  
Vol 1 (1) ◽  
pp. 47-60 ◽  
Author(s):  
JAMES WEBSTER
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
International System ◽  
Music History ◽  
Reception History ◽  
Historical Period ◽  
Italian Opera ◽  
Work Concept ◽  
Compositional History ◽  
Long Eighteenth Century

Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did the musical Baroque not last beyond 1720 in most areas, but the years c1720–c1780 constituted a period in their own right, dominated by the international ‘system’ of Italian opera, Enlightenment ideals, neoclassicism, the galant and (after c1760) the cult of sensibility. We may call this the ‘central’ eighteenth century. Furthermore, this period can be clearly distinguished from preceding and following ones. The late Baroque (c1670–c1720) was marked by the rationalization of Italian opera, tragédie lyrique, the standardization of instrumental genres and the rise of ‘strong’ tonality. The period c1780–c1830 witnessed the rise of the ‘regulative work-concept’ (Goehr) and ‘pre-Romanticism’ (Dahlhaus), and the Europe-wide triumph of ‘Viennese modernism’, including the first autonomous instrumental music and a central role in the rise of the modern (post-revolutionary) world, symbolized by Haydn’s sublime in The Creation.A tripartite reading of a ‘long’ eighteenth-century in music history along these lines seems more nearly adequate than either baroque/classical or 1700–1800 as a single, undifferentiated period.

Racism, Imperialism, and the Traveler's Gaze in Eighteenth-Century England

1993 ◽  
Vol 32 (4) ◽  
pp. 333-357 ◽  
Author(s):  
Margaret Hunt
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Social History ◽  
Historical Period ◽  
Foreign Travel ◽  
Literary Forms ◽  
Large Numbers ◽  
Foreign Countries ◽  
Specific Community ◽  
Raymond Williams

These creative acts compose, within a historical period, a specific community: a community visible in the structure of feeling and demonstrable, above all, in fundamental choices of form.I had become convinced … that the most penetrating analysis would always be of forms, specifically literary forms, where changes of viewpoint, changes of known and knowable relationships, changes of possible and actual resolutions, could be directly demonstrated, as forms of literary organization, and then, just because they involved more than individual solutions, could be reasonably related to a real social history. [Raymond Williams]In the waning years of the seventeenth century Sir William Petty, F.R.S., a talented statistician, champion of trade and commerce, and “projector” of schemes for national betterment, drew up a plan to cope with what he, at least, saw as a major problem. Petty had observed that there were large numbers of English youth from respectable families who had not the leisure, money, nor opportunity to travel to foreign countries. He was concerned that these worthy young men would miss the chance to develop the expansive faculty of mind and commercial acumen that foreign travel provided and national progress demanded. The crux of his scheme was that these youths would repair to London, where they would encounter businessmen around the Royal Exchange “who have fresh concerne & correspondance with all parts of the knowne world & with all the Commodityes growing or made within the same.”

Godless Fictions in the Eighteenth Century

2020 ◽  
Author(s):  
James Bryant Reeves
Keyword(s):  
Eighteenth Century
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