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underlining because main leaders in the field of historiography are: Great Britain (17.37% titles) and Germany (14.27%), not the USA (8.55%) which usually top the ISI lists. American historiography is closely followed by renowned European centres of historical

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1-2 85 102 Pierson, S. (2000): The David Collection and the Historiography of Chinese Ceramics. In: Collecting Chinese Art: Interpretation and Display

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Adanır, F. — Faroqhi, S. (2002): The Ottomans and the Balkans: A Discussion of Historiography . (The Ottoman Empire and its Heritage 25). Leiden—Boston [Mass.]—Köln. Ágoston, G. (1992): A

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Abstract

Although it is currently considered to be one of the major achievements in Portuguese art history, the recovery of Lisbon after the 1755 earthquake was not always recognized as such. Monotony, pragmatism, parsimony, repetitive patterns and a lack of fantasy and originality were powerful anathemas that cast a vast shadow over the city built under Marquis de Pombal's government. In 1949, Pardal Monteiro, one of the most important Portuguese modernist architects, was the first author to re-evaluate the pombaline city fabric arguing that its architecture and urbanism foreshadowed the Modern Movement. However the terms of his appraisal prompted significant interest, the main critical discourses kept on reflecting a negative assessment of Pombal's undertaking. José-Augusto França's Lisboa Pombalina e o Iluminismo (Pombaline Lisbon and the Enlightenment) published in 1965 was the turning point in this regard – despite the fact that the negative discourse still endures in its own preface contributed by Pierre Francastel, the recognition of the reconstructed city as a Public Interest heritage in 1978 was a direct outcome of this study. França's complete and thorough analysis placed the new city within the aesthetics of the Enlightenment and emphasised the symbolic dimension both of its urban plan and of its plaza real. Yet França did not grant any artistic value to its housing typology – even if he recognises that the housing block is the very Pombaline building. My argument points out the theoretical framework that supported those discourses, while addressing the paradox implied on França's thesis – i.e. the simultaneous recognition of the architectonic importance of the housing typology and its lack of aesthetics qualities.

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1962 . ‘ The Rise of Ottoman Historiography .’ In: Peter M. Holt and Bernard Lewis (eds.) Historians of the Middle East. London and New York: Oxford University Press , 152 – 167 . [Repr.: Halil INALCIK 1995. From Empire to Republic: Essays on

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In spite of the main goal of the annalistic narration of Livy, the description of the history of Rome, Alexander the Great has an important role in the Ab Urbe condita . In this way, Livy composed the first known counterfactual episode of European historiography (IX 17–19). Moreover, Livy compared the courage, knowledge and the fortune of the Macedonian and the Roman military commanders, and the opposing forces. Livy presents Alexander with his bad traits, therefore the historiographer denies the divinity of the Macedonian king. Livy opposes the few Greeks, who rejected the order of Augustus, and hated the princeps himself.

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Hungarian music historiography traditionally regards the dispute about „new Hungarian music” as a contest between conservative and progressive aesthetic views. However, the artistic problem of the Hungarian intelligentsia in the interwar period were more complex. They had tasks such as synchronizing modernism and nationalism, harmonising 19th century ideals and 20th century compositional ideas and redefining the criteria of the national musical-cultural canon.

The musicologist Bence Szabolcsi created an influential theory on peasant music inspired symphonic style already in the 1920s. He supported Kodály in his articles and he had a conscious intention to establish a new school of Hungarian music. As a young man Szabolcsi created a future oriented golden age theory based on his belief that the classical era was the absolute peak of European music. He made a diff erence between artistic creation (as a reflection of divine creation) and consciuos composition, classicism and romanticism, culture and civilization, and he regarded the latter categories as the signs of perilous European decadence from which there is no other choice but a „new classicism”, that is a „new testament”. Young Szabolcsi thought „new Hungarian music” could be the new and only path leading back to God, to culture, to music.

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Antal Meszlényi, A magyar katolikus egyház és az állam 1848-1849-ben (Budapest: Szent István Társulat, 1928); on the communist historiography see Erzsébet Andics, Az egyházi reakció 1848-1849-ben (Budapest: Szikra, 1949

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Abstract

As a vehemently disputed region between Hungary and Romania, Transylvania's historiography was often marked by political interests during the 20th century. Both sides claimed the province as their essential artistic landscape, in which “national art” character was supposedly preserved over centuries. The Romanian case is illustrated in the writings of Lucian Blaga and his theory of the so-called “mioritic space”. Nevertheless, Transylvania's art could also be interpreted as the result of a highly autonomous production, reflecting a strong regional identity. The books of Károly Kós, one of the leaders of the Transylvanist movement, are a striking example of this regionalist approach.

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This paper examines the iconolographical origin of Johannes Sambucus’ emblem dedicated to Carlo Sigonio, which – according to its title – displays the difference between grammar, dialectics, rhetoric and history. I focus on the central female figure whose innocent nudity represents the truth and whose connection with the ideal historiography standing – balancing together with Dialectics and Rhetoric – on the head of the young virgin Grammar. The special relationship between History and naked truth also defines its symbolic connection with the costumes of the other two figures: Dialectics in rough working clothes and Rhetoric in her long luxury dress. Three symbolic animals also belong to the three female figures: a sphinx to Dialectics, a chimera to Rhetoric and a winged dog to History. Contextual examination of the emblem reveals the possible source of the strange winged dog symbol is Plutarch’s short story of Osiris and Isis. In addition, the paper draws attention to an ironic twist of History in connection with Carlo Sigonio that shows that its nudity is not always so innocent.

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