Search

The article focuses on the evolving discourse around beauty in art, contrasting conservative nostalgia with contemporary re-engagements with historicism. Topics include the critique of modern aesthetics by reactionary commentators, the resurgence of classical and decorative traditions in contemporary art, and the reinterpretation of beauty as a dynamic and potentially subversive force in critical theory.

This article contends that the revolutionary forms we encounter in Modernist writing owe to «The New» as much as to some of their predecessors, among them John Henry Newman. Its purpose is therefore that of mitigating the current historicistic perspectives on Modernism, by retracing a pattern of continuity that goes from Romanticism to Modernism, both in terms of idealism as its philosophical premise, and in terms of formal experimentation, expressed through the esthetic of the fragment and through a renegotiation of realism. To do so, it will be looking at John Henry Newman as the ideological center of these philosophical and esthetic developments, while also touching on the influence of Newman’s vision on Decadence and Irish Modernism. [ABSTRACT FROM AUTHOR]

The present contribution recalls some of the main and most original features of Alasdair MacIntyre’s philosophical historicism. This is put in the context of his long, dynamic, and prolific philosophical career. The recognition of the natural continuity between MacIntyre’s work and Italian philosophy, including the way this latter is taught, is among the central claims, as is the invitation to develop this encounter along its many possible directions. [ABSTRACT FROM AUTHOR]

The article discusses New scores 2021/04: New works by Büsing, Elia, Finnissy, Lévy and Riehm, which includes musical historicism of a theatrical, partly anecdotal characters. Style allusions and parodies of sacred and secular music from the middle ages, embedded in a modern, atonal sound language including strings in the piano interior, percussive effects through preparation and pedal insert.

The article offers information regarding architectural challeges in Boston, Massachusetts. It presents views of David Andreozzi, an architect and president of the New England chapter of the Institute for Classical Architecture and Art, on architecture. It informs that the West End, England is now a grouping of towers in a park and the brutalist Government Center, as well as the pseudo-historicism of Quincy Market.

Copyright of Piezas is the property of Instituto de Filosofia, A.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kant's phrase has created enormous mischief, paving the way for the anti-historicism of Felski and Latour. Kant's flower and Latour's river are both treated like agents, but as Kant sees, and object-oriented ontologists do not - that has nothing to do with art. Following Latour and Felski it is true to say that when artworks are agents the original meaning is irrelevant, but that's because there is no meaning at all. [Extracted from the article]

The article focuses on plurality of disobedient futures. It mentions that critique of historicism by subaltern and decolonial thinkers has shown how ongoing processes of colonisation and exploitation are enabled by a specific politics of time. It also mentions about technological innovations and humanity.

The article focuses on the writing of architect Adolf Loos with the threshold of modernity, leaving behind the extravagance of historicism and facing the joys and dangers of industrialization and genres of architecture and his proposals for a new design philosophy.

The article explores on the literary history of the poet and playwright, William Shakespeare who have slipped the idea of "Freetown" for the struggle of free love. It highlights the historicism and cultural materialism in the dark account of freedom in the human beings. It also cites the context of patriarchal families in love.

An interview with Lionel Trilling, author of the book "Sincerity and Authenticity," is presented. He mentions that scientists are willing to accept the disparateness of the dialectical mode and categorical mode. He states that historicism comes in on the side of understanding, generosity and dealing with others. He says that the book is an effort of writing Tolstoyan novel in the 20th century.

Copyright of Peristil is the property of Drustvo Povjesnicara Umjetnosti Hrvatske (Croatian Society of Art Historians) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the acceptance of historical research methods as an indicator of quality in academic work. It focuses on the essential, but changing connection between archives and historical sciences. Archives have increased in status as a result of dramatic methodical and theoretical changes in historical science and the discipline of archival studies itself. Three illustrative periods are considered, which are early 19th century historicism, the acceptance of social science within historical science in the early 20th century, and the innovation of digitalization.

Copyright of Peristil is the property of Drustvo Povjesnicara Umjetnosti Hrvatske (Croatian Society of Art Historians) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article compares the role of Colombian literary history with traditional 19th century history writing. It examines the popularity of classical literary history, such as positivism, nationalism, authorianism, and linealism. The author also analyzes the importance of historicism in the history of Colombian literature, citing the works of Colombian author José María Vergara y Vergara.

The article focuses on the partial theory of original practices movement in the production of early modern drama. It discusses the development of the original-practices movement of the past two decades since the groundbreaking for the new Globe in 1987 and the founding of the Shenandoah Shakespeare Express in 1988. It also mentions that the purpose of the article is to locate the original-practices movement strongly in the world of literary discourse and destabilize some of the powerful claims to authority. However, it argues that the original-practices movement seems in part to be a critique of an attempt to incorporate new historicism both into critical and ethical practice. Moreover, it identifies some of the impulses that drive the original-practices movement.

This article analyzes the work of Alain Badiou, whose own examination of Leninist Party politics led to the idea of politics without party. The author claims Badiou is attempting to define the nature of the Communist Party after the initial success of the Russian Revolution and what becomes of the Party after is has achieved its revolution; in effect, the Party became the State. Badiou and the author contrast this to Maoism during the Cultural Revolution. However, the author concludes that there is still some usefulness in the Party during a transitional phase.

Discusses open-ended investigations that lead to historical analysis of the past, and why they are an important activity in education. The seven myths about primary and secondary sources; The four reasons for working with original historical sources; Idea that multiple sources provide a broader knowledge of the past and an understanding of bias; The potential of historical sources for stimulating curiosity; Idea that the use of sources within a context of inquiry is necessary for reaching the goals of learning history.

Argues against dogmatism and the performance practice in the business of musical performance. Traditional idea of authenticity; Concept of historicism; Natural course of music's history.

The author reflects on the concept of historicism and the Pakistan-India relations. Topics covered include the brutalities faced by Muslims in India as they try to behave like a nation, the challenge posed by the epic growth of science to the religious dogmas and the possibility for India's exploitation of the stability-instability paradox. Also mentioned are the challenges posed by terrorists and Indian covet shenanigans to Pakistan.

Focuses on ecological criticism of Romantic writers. Recovery of the dense ambiguities of authentic historical understanding buried in historicism; Need to take into account of the history of commentary; Determination of the form in which a literary text is encountered.

Comments on Michel Foucault's "The Order of Things: An Archaeology of the Human Sciences". Main themes of Foucault's writings; Foucault's demonstration of the subjection of emotional and intellectual life and history by the power of language; Foucault's general theory of conceptual and semantic coercion; Analysis of certain works of art; Dissent from Foucault's ironizing historicism.

Describes the new fields of deconstruction, feminist theory, the New Historicism, and film theory. Fields' attempt to apply class struggle analysis to the intellectual politics of academia; Symbolic imitation of political revolutionism.

Focuses emergence of 'New Historicism' movement in literary studies. Reason on the disdain of historicism on literary formalism; Reaction of the leaders of the movement on historicism on the exclusion of social and political circumstances from the interpretation of literary works; Supporters of the movement.

This article critically appraises English Renaissance literature. Two collections of new historical essays give the opportunity to see for ourselves what is happening in Renaissance studies. The best place to begin is with Jean Howard's essay in Renaissance Historicism, a selection of essays reprinted from English Literary Renaissance. Howe aid outlines the recent development of the new historicism and shows its relationship to other critical movements. She also provides with a handy guide to the work of Stephen Greenblatt and Louis Montrose, the two most influential new historicists among Renaissance critics.

This article focuses on how the discipline of new historicism is influencing the studies of English renaissance poetry. Stephen Greenbalt, whose 1980 release "Renaissance Self-Fashioning: From More to Shakespeare" was considered a milestone in interpreting the period, has carried an extended critique of sixteenth-century literature in a series of articles since 1977. More have followed since then. While the work of the new historicism school has been seminal, none have become revolutionary. Perhaps this is disappointing to some of its practitioners, but the criticism of English Renaissance literature has been rooted in history in spite of the oft-repeated assertion that purely formalist criticism dominated it between 1945 and 1975. The old school of historicism was often interested in different subjects from those that interest the new historicism. The author here argues that new historicism is alive and immensely vital and is developing breadth and sophistication.

The author takes issue with the notion that history conveys an inevitability to future events, or that the magnitude of historical events is fixed forever. He opines that the fall of the Berlin Wall in 1989 made the 1917 Bolshevik Revolution in Russia less relevant. He notes that a 2014 speech by Hungarian Prime Minister Viktor Orban implicitly criticized the view of some that liberal democracy would remain ascendant in the world.

The article presents information on the book "How Not to Write a Play," by Walter Kerr. Kerr sees dramaturgy as a matter of adjusting the play to the audience. They pay their money and they take their choice. The derivation of Kerr's view is not from the older medieval and renaissance tradition at all, but from that much more recent historicism which encourages a person to see in literature. In his book, Kerr scolds a playwright who said he wished to make his audience uncomfortable. By all means, there has to be established an identification of the audience with the action and often with a protagonist.

Writer Herbert Spencer set out very fully in his book "Descriptive Sociology," published last year, what was his idea of the mode in which sociological investigations should be pursued. His theory is substantially that mankind as well as the rest of the universe, is governed by law. Spencer holds that there is a strong analogy in all these particulars between individual men and those aggregates of individual men we call societies. What ordinary biography is to anthropology he thinks the ordinary history is to sociology. Spencer is not answerable for the imperfections of his materials, nor any the less entitled to praise and encouragement because they are imperfect but the matter deserves mention for the benefit of those ardent disciples who in every field of investigation are prone to outrun the master and be quite sure and impetuous where he hesitated and groped.

A literary criticism of the book "Tradition: A feeling for the literary past" by Seth Lerer is presented. It mentions that the book affirms the value of close and nuanced reading for understanding of past and present. It also reveals that Lerer proposes a more supple balance between text and context, combining the personalized historicism of T. S. Eliot.

Presents the controversy surrounding the Bible's essential historicity. Opinion of evangelicals about the historicity of various Biblical episodes; Different aspects of the question of the Bible's historicity; Description of the archaeology of Israel in William Dever's 'What Did the Biblical Writers Know and When Did They Know It?.'

The article focuses on the growth of building stone. The rise in popularity of building stone can be attributed to style particularly its proliferating historicism and the advances in technology that allow stone to be sliced producing more surface at less cost. According to Malcolm Holzman, Fellow of the American Institute of Architects (FAIA), of Hardy Holzman Pfeiffer Associates, the prices of other skins have risen as the price of stone has gone down.

Presents a letter to the editor in response to the article "The Bible: Unexamined Commitments of Criticism," by Jon D. Levenson in the February 1993 issue.

Comments on the article "New Wine in Old Bottles? The New Historicism and the Eighteenth Century," by J.A. Downie, featured in "Talking Forward, Talking Back: Critical Dialogues With the Enlightenment," edited by Kevin L. Cope and Rudiger Ahrens.

Argues against the idea that nations have their own distinctive literary histories. Stance of historicists on traditional national literary histories; Limitations of literary historians to establish a true multicultural reality; Suggestion on the right course of literary studies.

Presents a response by Jon D. Levenson to a letter to the editor about his article "The Bible: Unexamined Commitments of Criticism," in the February 1993 issue.