Wyniki wyszukiwania - Biblioteka Nauki

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FILIPPO CASTALDI AND HIS HERITAGE (Filipo Kastaldi un vina mantojums)

100%

Kaminska R.

Makslas Vesture un Teorija

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2004

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tom 2

20-28

EN

The Baroque and Neo-Classicism periods have left significant monuments in Latvia but the names of their creators are often unknown. This is especially important in the case of Latgale or the former Polish Livonia where architecture and artworks of high quality are often difficult to attribute. Before WW II Polish art historians were interested in the work of Italian-born painter Filippo Castaldi (1734-1814) in various regions of the country, including Latgale. But a more comprehensive insight into this master's work became possible only after the publication of Professor Andrzej Ryszkiewicz's article in 1965. It should be noted that Latvian art historians in the late 1980s could only benefit from this article. Restoration works at the Kraslava St. Louis Catholic Church have again drawn attention to this name in the context of 18th century Latvian art history. In 2003 when the high altarpiece was put to restoration, a niche with a well-preserved Castaldi mural was discovered. Information on the life of Filippo Castaldi (Gastoldi, Gustelding) remains to be fragmentary. The painter was born in 1734 in Arpino, in the Frosinone region of Italy, but nothing is known about his childhood and studies. About 1760 he arrived in Poland, perhaps invited by the Bishop Zaluski; he is known to have found an employer in Polish Livonia close to that time. This was the Kraslava landlord Konstanty Ludwik Plater who had started the ambitious construction of his main residence - the Kraslava town complex and palace ensemble. 19th century sources referring to archive documents attest that this master has painted a number of altarpieces in the Kraslava St. Louis Catholic Church. These were retable compositions painted on a wall that illusively depicted both plastic formations and figural compositions of altarpieces. Part of the attic of the high altar retable that was repainted later has survived. The composition 'St. Louis Departs for the Crusade' painted on the wall in the altar niche on view now is as it was since the restoration of around 1820.

2

CURIOUS COLLECTION OF CURIOUS DEATHS IN THEATRUM MORTIS HUMANAE TRIPARTITUM BY JOHANN WEICHARD VALVASOR: CONTEXT, SOURCES, INVENTION

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Germ T.

ARS

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2015

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tom 48

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nr 1

49 – 63

EN

Theatrum mortis humanae tripartitum (1682) by the Carniolan polymath Johann Weichard Valvasor (1641–1693) can be classified under the genre of allegorical moral-didactic poetry, very popular in the Baroque age. The chapter Varia genera mortis, where 35 death cases are presented in short epigrams by Valvasor and illustrated with engravings made after the original drawings of Slovenian draughtsman Johann Koch, has so far not been an issue of scholarly research, despite its interesting iconography. The article focuses on the iconography of the Varia genera mortis, its artistic context and its genesis. For the first time the direct literary sources of author’s inspiration are identified and his relation to the tradition of the Renaissance and Baroque genre of picturesque death stories established.

3

Podoby a proměny žánru kázání v době vrcholného baroka

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Kusakova H.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 5

93-106

EN

The authoress of the essay strives to point out some of the specific features in the writings of two notable baroque preachers, Pavel Josef Axlar and Daniel Nitsch. Both of these writers belonged to a new wave of writing sermons that started to emerge in the homiletics of the Czech baroque in the 1680s. Typical features of the sermons written in the following decades include: ingenious composition, sophisticated symbolism, abundant quotations, and above all, extensive use of metaphors and similes that often expanded into interesting allegories. The intention of the paper is to characterize the structure of the sermons, and to illustrate the individual characteristics in homiletics on the basis of an analysis of the final parts of the sermons. The last part of this paper deals with these preachers' influence upon their audience, and the transformation of the role of the subject and object, which is demonstrated by an interpretation of particular text.

4

PETER EISENBERG: DVOJITÝ BÁSNICKÝ AKT A DUCHOVNÁ HRA (1651). TEXT PROTESTANTSKEJ ŠKOLSKEJ HRY V DOBOVOM KONTEXTE

100%

Varšo M.

Slovenské divadlo (Slovak Theatre)

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2015

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tom 63

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nr 2

100 - 115

EN

The school play written by the German author Peter Eisenberg in 1651 has enjoyed great attention by scholars from various disciplines in the last few decades. Excellent studies prove the excellence of this theatrical act. The present study expands the current state of research by offering a close reading of the text with a view to revealing the thinking of the time and the source of Peter Eisenberg’s inspiration. It was theology, closely connected with the Holy Scripture in the Protestant environment, the works of clerical fathers and confessions. The play is accompanied by music produced by prominent composers of the time, which significantly contributes to its appeal. The play and its rich inner life have the potential to appeal also to contemporary readers, on condition that they understand the symbolism of the time.

5

MATER DOLOROSA ROMAN CATHOLIC CHURCH IN RIGA (Sapju Dievmates Romas katolu baznica Riga)

100%

Levina M.

Materiali Latvijas makslas vesturei

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2004

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tom 4

33-40

EN

Mater Dolorosa Roman Catholic Church is located in Old Riga, near the Riga Order Castle on the former filling-up of the Castle Moat. This is a quite recent example of sacred architecture in the Old Town because it was erected in the 2nd half of the 18th century. The construction history of this church is little known and very Interesting. After Reformation (1524) Catholic churches devolved on Lutherans' hands: in the so-called Swedish time Catholic churches, congregations and services were banned in Riga and Vidzeme. Only after the capture of Riga In 1710 Russians allowed to build Catholic churches here. In 1762 Catherine II issued an order to build a new church whose construction started by the castle in 1763. In 1765 it was consecrated as an 'oratorium publicum'. Historical sources give contradictory evidence on this first (wooden) church. Its previously unspecified location is given in a 1783 plan by Johann Christoph Brotze. A new stone church in Baroque style was erected in 1785. Construction of this new building was hastened by the Austrian Kaiser Josef II, visiting Riga in 1780, when he together with the Polish King Stanislaw August Poniatowski and the Russian 'tsesarevich' Pavel (the future Emperor Paul I) granted large sums of money for the reconstruction of the church. The new church originally was a stone hall with a simple rectangular planning and five windows in side facades and an altar facing the Castle Square. The main entrance was located in the southern part, at the centre of the side facade facing the present Polu gate. In 1837 a small polygonal baptistery (chapel) was added to the Northern facade along the axis of the main side entrance. A substantial reconstruction of the church was carried out in 1859 1860 after the architect Johann Daniel Felsko's (1813-1902) design, turning the small Baroque-style church into a noble Eclecticist building. The main entrance was transferred to the Castle Square and built in the ground floor of the massive frontal belfry (35 m high).

6

PAINTED INTERIORS IN DWELLING HOUSES OF RIGA BURGHERS FROM THE 16TH TO THE 18TH CENTURY (Interjeru gleznieciba Rigas pilsonu namos no 16. lidz 18. gadsimtam)

100%

Strupule V.

Materiali Latvijas makslas vesturei

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2004

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tom 4

41-56

EN

Painted interiors are a meeting place for architecture, decorative arts and fine arts. This situation makes the subject especially interesting. During the last two decades an active research of Riga historical buildings has discovered a wide variety of polychrome interiors. They attest that from the 16th to the 18th century house-painters' services were used most often to create a splendid interior space. Paint was the cheapest means to evoke an impression of splendour, imitating expensive materials. Painted interiors also showed their owners' ethical stance and social position. Middle and the 2nd half of the 16th century is the period of the first certain polychrome dwelling premises in Riga. More ancient evidence of interior finish was lost together with the town's Gothic buildings. The oldest known example is dated by the 2nd quarter of the 16th century and is located in the former territory of the Franciscan Order at Laipu Street 8. In the 17th-century Riga almost all painted Renaissance and Mannerism compositions feature a drapery on the lower part of the wall. Almost all discovered interior paintings of the 16th-17th centuries are located in dwelling premises on the 1st floor level. So they are not meant for visitors but rather to improve the aesthetic quality of the owners' closest surroundings. Overall covering of the wall with painted grey acanthus 'jungle' was one of the most favoured interior decorations in the late 17th and early 18th century - the period of high Baroque. The wall painting in the winding staircase room at Audeju Street 10 is an excellent example of this Baroque-style acanthus decoration. Very large acanthus leaves are painted in grey. Many high-quality ceiling paintings of the late 17th century and early 18th century are found In Riga. Two types of covering with different construction solutions and traditions of decoration are to be distinguished - the simple beam-board ceding and more complex overall plugged-beam ceiling. Several splendid examples of beam-board ceilings are found in the Mentzendorff House (Grecinieku Street 8).

7

THE ANCIENT ANONYMOUS WORK 'PRESLAVNA GORA POCHAIVSKA'

100%

Sobol W.

Slavia Orientalis

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2007

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tom 56

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nr 3

387-398

EN

The article describes an anonymous Polish baroque print 'Przeslawna Gora Poczajowska' (The Most Famous Pochaiv Mountain') and presents excerpts from this book preserved in the Special Collections Division of Polish National Library in Warsaw. The authoress presents an analysis of miraculous events: the phenomena, which began to happen on the Mountain after the revelation of Virgin Mary, whose footprint left on the rock filled up with healing water. The analysis focuses on the subject of light in the text.

8

JOHANN GEORG STENGG UND SAKRALE WERKE IN DER SLOWENISCHEN STEIERMARK

100%

Kemperl M.

ARS

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2015

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tom 48

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nr 1

64 – 81

EN

Johann Georg Stengg significantly contributed to the formation of late Baroque architecture in Styria (Steiermark). The study presents an extension of the set of his works on the three sacred objects from the period 1723–1740 in Slovenian Styria respectively Slovenian Carinthia. It concerns the pilgrimage Church of St. Agnes on the hill Golika above the town Zreče/Ober-Rotschach bei Gonobitz/ from 1723, the presbytery of the Church of St. James /Jakobski dol v Slovenskih goricah/St. Jakob in Windisch Buheln/ from 1739 – 1740 and the chapel of the chateau Bukovje /Pukštajn pri Dravogradu/Buchenstein bei Unter-Drauburg/ from 1739.

9

VERSAILLES – ARCHITEKTONICKÝ A UMELECKÝ SKVOST ĽUDOVÍTA XIV

100%

Kniezová M. , Pecníková J.

ESPES

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2014

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tom 3

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nr 1

11 – 18

EN

The article is focused on one of the largest and the most glorious jewels of world architecture – Palace of Versailles. This place is famous not only for the architectonic and decorative components, but also for a very special life style around the king, which is connected with this place. In the article we are orientated on the architectonic and artistic aspects of Versailles, especially on the baroque and classical forms.

10

JEZUITSKÉ DIVADLO V SPIŠSKEJ KAPITULE. DIVADELNÉ DRÁMY Z POLOVICE 17. STOROČIA

100%

Varšo M.

Slovenské divadlo (Slovak Theatre)

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2014

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tom 62

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nr 2

188 - 202

EN

At the time when the elements of theatre were introduced into the everyday life of European royal courts, such tendencies influenced also the ways of staging religious events. Magnificent processions during major Christian holidays, announcements of the saints, carrying of relics became an impressive self-representation. It was the religious influence of the period which brought new impulses into drama. Horizontal of human world, which inspires commedia dell'arte and Elizabethan theatre, is completed by the vertical: Baroque Drama extends "from heaven through the world to hell." As such, it represents the restoration of the medieval cosmos transcendent. The basis of Baroque theatre represents tension between immanence and transcendence and every event on stage is a part of the history of salvation. The focus of our research is on the Jesuit College in Spišská Kapitula, representing a participation of north-eastern part of the Austro-Hungarian monarchy on the rich cultural life of Baroque Europe. General tendency towards dramatisation of life is represented, inter alia, by tireless creative activity of the Jesuits, supported by a few individual members from among the nobility and clergy. The author examines the preserved documentation for the productions Sapientia Salomonis Quesita et Possessa (1649) and Magnes Amoris Divini (1650).

11

Одяг як комунікат і компонент літературної імагології (на матеріалі вибраних творів давньоукраїнської літератури)

100%

Sobol W.

Slavica Wratislaviensia

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2011

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tom 153

525-538

EN

In the paper of Valentyna Sobol Clothes as a message and a component of literature imagology (based on selected works of old Ukrainian literature) versatile functions of clothes in a series of works belonging to different genres are studied in the context of the problem defined in the title. These works are: ”Slovo pro Zakon i Blagodat” (“A Word on Law and Grace”) of Ilarion Kyivsky, Kyyevo-Pechersky Pateryk (Kyiv-Pechersky Patericon), Litopys Samiyla Velychka (Samiylo Velychko Chronicle), fables of Hryhori Skovoroda, poems of Kyrylo Trankvilion Stavrovetsky, Kasiyan Sakovych, Danylo Bratkovsky, travel diaries of Pylyp Orlyk and Vasyl Hryhorovych-Barsky. Clothes as a message on the work done, social status and relations to the world become a fundamental problem in the epoch of great geographic discoveries (in culture this is the baroque epoch), the epoch of increasing interest in ethno-cultural peculiarity of the world nations and of destroying the stereotypes in perception of “own and another’s.”

12

Modlitwa ciała — o zmysłowej postaci świętości w "Lutni czeskiej" Adama Michny z Otradovic

100%

Maciołek M.

Slavica Wratislaviensia

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2011

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tom 153

693-707

EN

The fascination with the sensual stems from the paradoxes of existence that haunted the baroque mind. One area where it can be found is religious poetry of the mystic-erotic tradition with its overlap of sensual experience and the experience of the sacred. In mystic-erotic poetry the sacred becomes sensual. In 17th-century Czech literature this type of poetry is represented by The Czech Lute, a collection of songs by Adam Michna. The article seeks to reinterpret this work by conducting an analysis based on the so-called doctrine of the spiritual senses derived from the teachings of the Church Fathers. This doctrine is based on Origen’s idea (developed at the turn of the 3rd century) that the spiritual senses are the senses of the heart, or of the inner man, which are sublimated in the process of the gradual overcoming of the senses of the flesh. The delight of communing with God is brought to those who can restrain the former and activate the latter. Thus the spiritual senses become the tools of mystical cognition. The article contains references to the teachings of Saint Bonaventure (13th c.), who developed Origen’s ideas, defining the spiritual senses as acts of contemplation which enable men to attain unity with God. By using the biblical alphabet of the senses in depicting the mystic act of commuting with the Absolute, of spiritual union, the Czech poet offered his Czech baroque readers a new form of spiritual experience, and introduced into poetry a new kind of poetic expression.

13

Rukopis P. Ivana a S. Ioanne Baptista “Rurale ivaniticum” jako pramen ke studiu lidové kultury v Čechách 18. století

100%

Wolf J.

Studie o rukopisech (Manuscript Studies)

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2008

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tom 36

229-242

EN

This article deals with the manuscript of a little known Baroque sermon called 'Rurale Ivaniticum' from the Library of the Prague Crusaders. Its author is the forgotten Carmelite P. Ivanus a S. Ioanne Baptista. The main subject is the usefulness of the manuscript for the study of 18th century popular culture in Bohemia. The sermon by P. Ivanus a S. Ioanne Baptista was aimed almost exclusively at the lower class rural population. Hence the 'Rurale ivaniticum' manuscript provides quite frequent examples of didactically intended folk sayings, as well as attacks on folk demonology and oneiromancy. It is from these parts of the manuscript that a merger of scholarly and folk culture clearly emerges.

14

VIACHLASNÉ SLOVENSKÉ DUCHOVNÉ PIESNE V RUKOPISNOM EVANJELICKOM KANCIONÁLI SK-MMS, B III/107 (17.STOR.)

100%

Ruščin P.

Musicologica Slovaca

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2011

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tom 2 (28)

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nr 1

38-72

EN

The four four-part hymn adaptations in a manuscript of Slovak Lutheran hymnbook without title page (SK-Mms, B III/107) are among the few documented examples of choir adaptations of Slovak hymns in the 17th century. This source, of Central Slovakian provenance, which has not been known hitherto, documents liturgical singing by Slovaks in one of the church choirs of that region at the close of the 17th century.

15

Jak dnes vydávat českou barokní hymnografii?

100%

Malura J.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 1

101-108

EN

This essay on the editing methods for a Czech hymnography of the early modern age also takes issue with Marie Skarpová's review of the volume 'Cistý plamen lásky' (Love's pure flame), of which Malura was editor, in Ceská literatura 52 (2004), no. 6.

16

NÁČRT DEJÍN BAROKOVEJ ŠKOLSKEJ HRY SPOLOČNOSTI JEŽIŠOVEJ V PREŠOVE II.

100%

Makky L.

ESPES

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2013

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tom 2

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nr 2

51 – 60

EN

The aim of the author ́s paper is the issue of the history of Jesuit school theatre, that was developing during the years 1673 to 1773 in the highly protestant environment in the one of the most important reformation centres in Upper Hungary, namely in the independent royal city Prešov. The paper is focus on the history of Jesuit school play in Prešov in background history of Lutheran college in Prešov, that mostly in its first historical stage (1666 – 1711) reflected stormy struggle between Hungarian Habsburg absolutism and the estates company, that is mainly the struggle between catholic and protestant church. Immanent part of the paper is differentiation of one hundred and twenty Jesuit school plays according to individual periods of development of baroque – dramatic theatre production of Jesuits in the city of Prešov and its characterization along the lines of historical records of Jesuit chroniclers as well.

17

SOME ADDITIONS TO THE HISTORY OF THE LESTENE CHURCH ORGAN (Dazi papildinajumi Lestenes baznicas ergelu prospekta vesturei)

100%

Grosmane E.

Makslas Vesture un Teorija

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2004

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tom 2

60-63

EN

The article deals with the fortunes of Lestene Church organ that along with the wood-carved Baroque altarpiece is among the best works by Nicholas Soeffrens the Junior. The Fircks family who were Lestene landlords intended to sell the organ to the Riga Town Council but the deal was not carried out. Several historical events related to these decisions are examined in the article.

18

Ukotvenost a ukotvitelnost pojmu barok v českých literárních vodách

100%

Sladek M.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 3

309-323

EN

In Bohemian literary sources the terms 'Baroque' and 'Baroque literature' are not clarified, defined, or generally accepted. Some scholars talk about the birth or establishment of Baroque thought in the Bohemian Lands as having taken place about 1550. A frequent view is that Baroque literature began to assert itself in the Bohemian Lands shortly before the Battle of the White Mountain (1620). One also occasionally hears the opinion that Baroque literature did not begin in the Bohemian Lands till the 1680s. In dictionaries and other works concerned with literary theory and history the term 'Baroque literature' is normally linked with the theme of the fleetingness of life and of all earthly things and with the vivid depiction of the four last things (heaven, hell, death, and judgement), especially death. In Czech literature, one finds these themes most often in the period from the third quarter of the sixteenth century to the third quarter of the seventeenth century. Increased interest in death and fleetingness is, however, linked not only with Baroque thought but also, at least to the same extent, with late humanist thought. It is precisely the predilection for theatricality, frequently mentioned in connection with Baroque literature, which is linked with the humanist predilection for the expressively drawn backdrop of the story or interpretation and with the late humanist conception of the world as a theatre and of human life as a theatrical role. Other features of Baroque literature are said to be, for example, its dynamism, the attempt to intensify impression and expression, high dramatic tension and overstressing, and the use of paradox. If, for example, we look for dynamism and paradox in Czech literature of the period from the 1620s to the 1670s, we find it - as in the pre-White-Mountain literature - to be relatively marginal. The literature of 1600-80 changed very slowly. Writers probably began to search for new sources of inspiration and in some cases enlarged the circles of authors and works they considered authorities. Apart from Classical Antiquity and patristics in the literary work of the second and last third of the seventeenth century, an ever greater role was played by the literary tradition of the High Middle Ages. Folklore also became an increasingly important source of inspiration for writers. In addition, the relationship between the writer, language, and the printed word underwent certain changes. Language, on the one hand, was closely linked with the attitude to one's native region and country and to the tradition of catholicity; on the other hand, the possibilities of language were gradually being made relative: writers became increasingly conscious that much remained inexpressible with words, and even took refuge from time to time in the declaration -often stylized - about their own inability to express certain things in words.

19

Co je to emblematicka struktura v textu?

100%

Bedrich M.

Česká literatura (Czech Literature)

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2008

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tom 56

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nr 6

846-856

EN

In this article the author considers the structure of the emblem in the Baroque period, clarifying the reasons for the inseparability of the individual parts of an emblem, as well its meaning and function in the Baroque. He also examines changes in the structure of the emblem, arguing that an image part may be substituted for by a text part, which must, however, evoke a visual idea. He demonstrates this with a work by Martin von Cochem (1634-1712).

20

Edycje i struktura "Ogrodu, ale nie plewionego" Wacława Potockiego

100%

Borkowski A.

Prace Literackie

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2010

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tom 50

15-25

EN

The article examines complicated philological issues in a collection of epigrams written by Wacław Potocki, a baroque poet. The analysis refers mainly to editorial problems and the structure of the set. The author uses fundamental works of the publishers of the volume, Aleksander Brückner and Leszek Kukulski, trying at the same time to look critically at some of the editorial decisions. It is important to remember that the latest edition does not include all poems or their fragments which were published in 1907. Some of the texts were included in fragments only, and in order to study them one has to refer to the pre-war edition. Research has demonstrated that the structure of A Garden is unique and signifi cantlydifferent from that of typical works of this kind.