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RENAISSANCE IST EIN FREMDWORT. DIE MARXISTISCHEN GESCHICHTSSCHREIBUNGEN OSTMITTELEUROPAS AUF DER SUCHE NACH „FORTSCHRITTLICHEN TRADITIONEN“

100%

Górny M.

ARS

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2015

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tom 48

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nr 2

136 – 144

EN

The main role of the loyal Stalinist historians in Central and Eastern Europe consisted in accepting of the Marxist-Leninist methodology by Soviet historians and in creating an image of history, which would re-interpret the national history in spirit of Marxism. This new interpretation has been presented mainly in university textbooks and historical journals. The paper focuses on the privileged status of "national traditions" in the Marxist historiography in relation to the age.

2

STIL UND BEDEUTUNG: ÜBER KONKURRIERENDE RENAISSANCEMODELLE IN DER POLARISIERTEN WELT DES KALTEN KRIEGES

100%

Kodres K.

ARS

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2015

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tom 48

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nr 2

118 – 135

EN

The main subject of this article is the texts of Soviet (and Soviet Estonian) art historians to Renaissance art at the time of Stalin to the thaw period - the period of the Cold War in the years 1945 - the 1965. They are compared with the texts that have been published on the opposite side of the iron curtain. The renaissance art history of both ideological camps had many similarities, because the treatise framework has been formed by the artistic discourse developing in the West since the 19th century.

3

THE KNOWLEDGE ECONOMY OF THE RENAISSANCE: THE ADVENT OF PRINTING AND FINANCIAL INTEGRATION IN CENTRAL EUROPE

100%

Chilosi D. , Volckart O.

Český časopis historický (The Czech Historical Review)

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2011

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tom 109

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nr 2

262-282

EN

This paper examines the role of the advent of printing in explaining financial integration in Central Europe until 1520. It finds that printing promoted financial integration because it triggered a fall in the costs of transmitting information, assisted the functioning of the Holy Roman Empire in major centres and significantly increased the financial importance of human capital.

4

DIE RENAISSANCE IN UNGARN UND ITALIEN AUS MARXISTISCHER UND NATIONALER PERSPEKTIVE. BEOBACHTUNGEN ZUR SITUATION IN UNGARN VOR UND NACH 1945

100%

Born R.

ARS

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2015

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tom 48

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nr 2

160 – 178

EN

Renaissance, and especially the figure of Matthias Corvinus, represents from the beginning to the national emancipation in the late 18th century, an important unit in the public perception and later in the state politics of history. In addition to focusing on their own national cultural heritage that plays also an important role the view of the development of Renaissance art in various regions of Southern and Western Europe. The article tries to contextualize the art historiographic positions in Hungary in 1948-1989. In the interwar period, the foundations for two movements were laid.

5

Epitafní obraz s Alegorickým ukřižováním ze sbírek Slezského zemského muzea a manýristické malované epitafy českého Slezska

88%

Jakubec O.

Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)

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2010

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tom 1

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nr 1

41-54

EN

The contribution focuses on the file of late Renaissance painted epitaphs from the historical territory of the so called Bohemian Silesia, though there is a range of monuments of unclear provenience. Nevertheless, they can be connected with Silesian environment being connected with specific iconography comprising mainly the motive of Allegorical Crucifixion. This unequivocally points at commemorative and representative monuments as well as peculiar 'confessional media', referring about the confession of its customers. Therefore it appears that so far used predominantly formally-analytical approach to these problems requires also examining even the complex social background of epitaph monument, which often speaks in their iconographic themes with distinct confessional language.

6

Comoedia tragica, sacra et nova, czyli łacińska komedia religijna Renesansu

88%

Budzisz A.

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2010

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tom 20

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nr 1

33-42

EN

The paper's main task is to investigate the reception of the ancient dramatic models in Renaissance. In many plays some biblical themes acquired a literary form of comedy in spite of fact that ancient comedy, unlike tragedy, as characterised by a 'secular' matter. The authors pointed to their Roman models, Plautus and Terence. The purpose of the play was responsible for its shape and was decisive for the choice of the appropriate ancient model.

7

ERWÄGUNGEN ZUR INTERPRETATIONSMÖGLICHKEIT DER WANDMALEREI. AM BEISPIEL DER STANZEN IM VATIKANISCHEN PALAST

88%

Žuchowski T. J.

ARS

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2011

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tom 44

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nr 2

194-214

EN

The article analyses the so-called Vatican Stanze, an exceptional ensemble for researching the phenomenon of wall painting. Sala di Costantino, Stanza di Eliodoro, Stanza della Segnatura a Stanza dell’Incendio, painted mostly in the years 1508 – 1524, offers the possibilities to analyse individual paintings and decorative programs as well as the complicated relation among them.

8

DUCHOVNÉ CESTY V KATALÁNSKEJ POÉZII NA PRELOME 19. A 20. STOROČIA (OD JACINTA VERDAGUERA K JOANOVI MARAGALLOVI)

88%

Bojničanová R.

World Literature Studies

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2014

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tom 6 (23)

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nr 1

47 – 63

EN

The present article reflects on spiritual themes in Catalan poetry at the end of the 19th century and the beginning of the 20th century, focusing especially on the works of the two major poets of the Catalan cultural renaissance, from its initial stages in the person of Jacint Verdaguer (1845-1902), to its pinnacle represented by Joan Maragall (1860-1911). Our comparative study analysis selected later poems by both writers, works of maturity dealing with man ś relationship to the world around him, his own earthly existence, and especially to God. These two poets address the dilemma between earthly and eternal life, urged by the persistent idea of inevitable death. Their different ways to communicate with God and solve this issue are determined by not only a general transformation of society ś mentality, but, as it becomes especially obvious, the diverging human personalities of the compared writers. The works of these two founding figures of modern Catalan poetry exemplify the changes in human experience as well as in literary expression and of the spiritual perception during the formative period of the modern Catalan nation.

9

ELIÁŠ BERGER (1562 – 1644), CISÁRSKY HISTORIOGRAF A POETA LAUREATUS

75%

Frimmová E.

Historický časopis (Historical Journal)

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2014

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tom 62

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nr 3

393 – 413

EN

Eliáš Berger from Grünberg (1562 Brezno – 1644 Skalica) worked as a historian at the court of the Emperor Rudolf II and later of Mathias II of Habsburg. He also engaged in politics. Great socio-political interest in support for the Archduke Mathias and his power-political ambitions with the aim of calming and improving the domestic situation and strengthening pro-national feelings in the Kingdom of Hungary united various representatives of the aristocratic families and important humanists at the beginning of the 17th century. Berger cooperated in these aims with his literary work, together with Stephen Ilesházi and Peter Révai. The literary output of Eliáš Berger is remarkable from 1600 – 1638. He wrote 20 larger works as well as shorter literary texts. Above all, he helped to influence political and social developments with his historical and political writing.

10

Muzejs muzeja

75%

Lancmanis I.

Makslas Vesture un Teorija

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2013

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tom 16

58-65

EN

On 24 May 2012 a poster ‘From the Gothic Style to Art Nouveau’ appeared in the west-side staircase vestibule of Rundale Palace, next to the entrance door to the west-side block. Behind that door, a quite dark and mysterious world opens up, very different to the light and playful environment of the Palace designed by Rastrelli. Museum staff have named this new exposition rather conventionally – DEKO. Decorative arts are always placed behind their nobler sisters as the fine arts are thought to top the hierarchy. Nevertheless, decorative arts have been most closely related to people’s daily life. In Latvia, much evidence of our cultural history has perished as a result of wars, revolutions and social transformations. Not all European countries have a special museum of decorative arts, but in Latvia the chance to see close-up examples of canonical historical styles is even more limited. Already in the 1960s there was the idea to create a chronologically and stylistically arranged exposition of decorative arts in the Rundale Palace Museum. Besides purchases from antique shops and loans from other museums in Latvia, another way to enrich the collections was taking over items from the churches of Latvia; their tragic fate in the conditions of Soviet occupation became even worse after the ideological action of 1961 when congregations were liquidated. Apart from wood-carved altars, pulpits, benches, sculptures, altarpieces and votive plaques, the Museum also received many silver and tin items, and they did fit well with the idea of a future exposition of decorative arts. Besides churches, the Museum also systematically inspected manor houses. Much was salvaged from these too at the last moment – stoves, doors, parquetry, decorative reliefs or metalwork fittings. Already then it was evident that all this should be part of the future exposition. The DEKO exposition envisages demonstrating all historical styles from the 15th century till World War I in fourteen rooms, beginning with late Gothic and ending with Art Nouveau and Neo-Classicism. The idea is to show both the major line of stylistic development in Western Europe and the reflection of these styles in Latvia.

11

Praktyka i wiedza z zakresu zarządzania w średniowieczu i epoce odrodzenia

75%

Beliczyński J.

Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie

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2012

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nr 896

157-176

EN

The article presents, in chronological order, the dominant directives and reflections on the organisation of work, management, decision-making, effective functioning, leadership, strategies, quality and accountancy in the Middle Ages and Renaissance. The topic is introduced with a discussion of the forms of organising collective work and how issues of quality were approached in these two epochs. This is followed by an overview of Arab thought on strategy and the functioning of organ isations as well as European thought and literature on organisation and management. The author discusses why management science could not have developed without scientific research methods. The paper ends with a look at Poland’s contribution to the development of organisation and management in the two periods.

12

ARTISTIC WORD IN RENAISSANCE (Umelecke slovo v obdobi renesancie)

75%

Cajkova J.

Slovenské divadlo (Slovak Theatre)

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2009

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tom 57

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nr 2-3

152-159

EN

The beginning of Renaissance in Europe goes back to the 14th century. The territory of present Slovakia was observed by certain refinement of customs and the advancement of the culture life of the Hungarian society under the reign of Louis I the Great (1342-1382). The laudation of combativeness, the patronage of justice and truth, the protection of the weak and allegiance were the dominating themes of heroic and historic songs of minstrels, and the enchantment by beauty and by virtues were the themes of the songs of troubadours, trouveres, and minnesingers. They were a component part of noble and town culture in the 14th and even the 15th centuries. Humanistic society and literary circles contributed markedly to the elevation of culture and the shaping of the intellectual elite of Renaissance Hungary. These men built on the activity of the European 'Devotio moderna' movement, which stressed individualism and mysticism in religiousness, education and inner spiritual culture. In Christian rite the manner of preaching was determined in the past, but even there, novel features were introduced thanks to continuing development. 'Spis Prayer Sermons' (1479) have given an insight to the language and speech culture in communicating the message of God to the congregated believers in the Slovak language in Eastern Slovakia churches.

13

THE WHITE PALACE OF VECGULBENE MANOR - ITS BUILDERS, ARCHITECTS AND FORTUNES (Vecgulbenes muizas Balta pils: celeji, arhitektura un likteni)

63%

Zilgalvis J.

Makslas Vesture un Teorija

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2009

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tom 12

22-26

EN

Vecgulbene (Alt-Schwanenburg) manor is situated in Gulbene District within the territory of the town of Gulbene, which has been a crossroads since ancient times. The manor is known as one of the most prominent and splendid ensembles in Latvia and possibly in the Baltic region. This place suffered considerably during the wars and the Soviet period. Construction and reconstruction of the so-called White Palace at 12 Brivibas Street has been dated differently by various sources. First it was stated that the central part had already been built in 1763 and reconstructed in 1840s-1870s. Art historian Dainis Brugis holds that the Palace was built around 1840, which seems to be a more plausible version; construction was carried out by the Wolff family, possibly by Rudolf Gottlieb Magnus von Wolff (1809-1847) and entries in his daughter Isabella's diary attest to this. Rudolf von Wolff had traveled to many countries including Italy. The style of Italian villas evident in the White Palace surely comes from Rudolf's taste and interests. The Palace was inherited by Rudolf's son Johann Heinrich Gottlieb von Wolff (1843-1897) who reconstructed and enlarged the building in the last quarter of the 19th century. The architecture of the Palace was influenced by the Renaissance. The project resembles the Renaissance villas found among Andrea Palladio's works. The central two-storey block was almost cube-shaped and flanked by single storey wings at both ends. The façades were lavishly decorated. The central volume featured wide, fluted colossal order pilasters; triangle-shaped, plastic frontons were placed over the ground floor window openings.