Search Results

You are looking at 1 - 10 of 126 items :

  • "Classicism" x
Clear All
Eine Apologie
Doing Pop, Doing Classical Music, Doing Mixed Genres
Zur Ästhetik des Heroischen im Drama des Siècle classique
Series: Lettre
Series: Image, 163
»Architect Professor Cesar Pinnau« als Entwurf und Entwerfer

the Mediterranean and Baroque world powers (Portugal and Spain) to the Atlantic-only powers of the world in north-western Europe. What these countries had in common was a stronger individu- alism and a rebellion against classicism. Anti-Classicism was part of the founding moment of the modern system of the arts; it allowed for the reversal of all genre hierarchies, more ›schismoge- netic‹ genre conventions and the acknowledgement of non-European arts. This brings us to the crucial question: Why is it possible to declare non-European songs, dialogues

. Kraus. or F. X. Šalda – and shows partially surprisingly similar motivations for very different assessments of Goethe. Title: Goethe in Bohemia, Goethe in ›Deutschböhmen‹. Appropriation of the Classic around 1900 Keywords: Weimar Classicism; Bohemia; Klaar, Alfred (1848–1927); Sauer, August (1855–1926); Kraus, Arnošt V. Kraus (1859–1943) Mitte Oktober 1838 schrieb der tschechische Dichter, Sammler und Übersetzer František Ladislav Čelakovský (1799–1852) an seinen Freund, einen der frühen Goethe-Übersetzer, Josef Krasoslav Chmelenský (1800–1839): »Letzten Mitt

protagonists in their struggle to re-define their identities in a phase where they are searching for new reference points for their identity construction that is no longer rooted in their prior self-conception as members of the bourgeoisie. However, by referencing genres such as the Bildungsroman and the novella both texts place themselves in a long tradition in the Western canon and are as- sociated with Weimar classicism, Romantic nationalism and the image of a Ger- man ›Leitkultur‹. By using these traditional narrative forms when writing about contemporary issues

tradition, academicism and, above all, a nauseating cere- bral laziness. We condemn as insulting to youth the acclamations of a revolting rabble for the sickening reflowering of a pathetic kind of classicism in Rome; the neurasthenic cultivation of hermaphodic archaism which they rave about in Florence; the pedestrian, half-blind handiwork of ‘48 which they are buying in Milan; the work of pensioned-off govern- ment clerks which they think the world of in Turin; the hotchpotch of encrusted rubbish of a group of fossilized alchemists which they are wor- shipping in

architectural order could be entirely uncoupled from expressions of political authority or social hierarchy associated by many before and since with almost all forms of classicism, not least the Beaux Arts museums, typically set like the Kimbell in ample parkland, erected across the United States in the late 19th and early 20th centuries.20 Grand gestures, such as monumental stair halls, are entirely absent. Instead, light imparts endless variety to the clearly defined organization of space, through which one can freely wander along multiple possible paths. At the