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The Marquis of Benicarlo's House is a prime example of 18th-century Baroque civil architecture in the Valencian region. Inside, it preserves ceramic panels from this period of great historical and heritage value. However, prior to its designation as a Cultural Heritage Site, the building lost some of its most architecturally significant elements, such as the flooring in one of the main rooms, which was decorated with rich iconography. Fortunately, the original tiles from this flooring have been located in the collections of the National Museum of Ceramics. This study presents the recovery and graphic restitution of the flooring based on the pieces found in the museum's collections. This work allows us to understand the original appearance of the flooring before its dismantling and may enable its in situ restoration through digital ceramic printing techniques, thus returning one of its most unique architectural elements to the building. It also details the process of digitally restoring the flooring to its original location using advanced digitization techniques. This enables the visualization of the hall in its authentic state using virtual reality methods, thereby facilitating its appreciation and dissemination as a heritage architectural space. [ABSTRACT FROM AUTHOR]

The Marquis of Benicarlo’s House is a prime example of 18th-century Baroque civil architecture in the Valencian region. Inside, it preserves ceramic panels from this period of great historical and heritage value. However, prior to its designation as a Cultural Heritage Site, the building lost some of its most architecturally significant elements, such as the flooring in one of the main rooms, which was decorated with rich iconography. Fortunately, the original tiles from this flooring have been located in the collections of the National Museum of Ceramics. This study presents the recovery and graphic restitution of the flooring based on the pieces found in the museum’s collections. This work allows us to understand the original appearance of the flooring before its dismantling and may enable its in situ restoration through digital ceramic printing techniques, thus returning one of its most unique architectural elements to the building. It also details the process of digitally restoring the flooring to its original location using advanced digitization techniques. This enables the visualization of the hall in its authentic state using virtual reality methods, thereby facilitating its appreciation and dissemination as a heritage architectural space.

It is well known that the 52 concertos for keyboard(s) or other solo instruments of Carl Philipp Emanuel Bach constitute a repertoire that crosses the borderline of Baroque and Classic eras from both a chronological and a stylistic point of view. However, their analogous position concerning the Baroque ritornello form and the various Classic concerto-sonata types is not yet as clear as it should be, since most scholars tend to examine and classify these works in a rather one-sided way, basing their views either on the earlier ritornello form or on both theory and practice of (only) the late eighteenth-century concerto, thus ignoring many important aspects of formal design in Bach's concerto movements in particular. The present paper submits the findings of a comprehensive research on Bach's whole concerto output, clearly distinguishing between movements in ritornello and concerto-sonata forms; furthermore, it highlights the impressive variety of concerto-sonata structural types that Bach uses in his works: ternary but also binary sonata forms with five, four, or three ritornellos, the specific role and function of which (and especially of the intermediate ones) cannot be always restricted to the specifications of even the most recent (and seemingly all-embracing) related typologies. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

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Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca 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.)

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Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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.)

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The cultural formation of the Latin American continent amplifies, in all degrees and variants, the presence of voices, oral traditions and nature, whether combined with countless written series and genres or not. It is important to unfold the three levels of language in their interactions, constitutive of the cultural processes of Latin America and the Caribbean, which draw from the Ibero-Amerindian and Afro-Arabic crucibles. It is the interweaving of that layers that underpins a multiple Baroque style from the start. The Baroque presence in the continent cannot be understood without the intercultural turn in which oral traditions are nuanced, amidst the superabundance of mestizaje, with their acoustic series. From this conglomerate of marginal variants emerges what we have called a self-moving palimpsest archipelago, where the casual forms of the excessive peripheries do not fit within the linear and causal logical-interpretive schemes of Western tradition and reason, since, among other procedures, they radicalize the figures of metonymic proliferation and oxymoron. [ABSTRACT FROM AUTHOR]

The aim of the article is to examine the carving ARBOR HUMANAE VITAE ("The Tree of Human Life"), conceived by Mikołaj Krzysztof "The Orphan" Radziwiłł and carved by the Antwerp engraver Theodoor Galle, from the perspective of the Christian concept of time. This study builds on my previous research published in the journal AAAV,1 which discussed the carving's iconography, its relation to Latin texts, and the issue of authorial invention. The article aims to highlight the crucial shifts in human life emphasized in the work and the pursuit of eternity, both important for understanding the concepts of age (aevum) and eternity (aeternus) during the Baroque era. It seeks to unravel the values and concepts of human life as encoded in the carving, focusing on the personality of the nobleman Mikołaj Krzysztof "The Orphan" Radziwiłł. The article is structured into several segments: "The Two-Stemmed Tree - An Allegory of the Rich and the Poor," "Human Life - The Quest for a Heavenly Homeland," "Death and Funerals," "The Grave and the Monument - The Keeper of Human Memory," and "The Resurrection of Man and Eternal Life." These sections explore Radziwiłł's personality, his life choices and priorities. The discussion relies on 17th-century sources directly related to Radziwiłł, including "The Rise of the Radziwiłłs," written for his inauguration (1604), and the funerary sermon by Jesuit Jan Aland commemorating the anniversary of his death (1617). The article attempts to connect the biographical details and personal characteristics mentioned in these texts with the copper carving, which serves as the visual document of this study. The novelty of the research lies in linking visual material with contemporary written sources, thus contextualizing the carving within the environment of the Radziwiłłs and expanding the contemplation of human life in Baroque art. Mikołaj Krzysztof "The Orphan" Radziwiłł sought to exemplify a virtuous life. Born into a wealthy family, he sought to enter the Kingdom of Heaven and secure eternal life through his virtuous deeds and acts of charity. When discussing the life of "The Orphan" Radziwiłł, the importance of his burial place emerges as a significant choice for an early 17th-century nobleman and as an important commemorative sign influenced and partially determined by the individual himself. The church of Nesvizh serves as the place of eternal memory for Mikołaj Krzysztof "The Orphan" Radziwiłł. Here, his tombstone appears to extend his life, "speaking" through its inscriptions about the temporality of life and, simultaneously, its continuity. [ABSTRACT FROM AUTHOR]

The genre of the concerto arose at the turn of the 16th and 17th centuries in church music as a choral work, in which instrumental accompaniment was often used. The presence of an instrumental part in a spiritual concert had a great influence on the emergence and development of the instrumental version of the instrumental genre of the concert. The purpose of the article is to highlight the ways of modification and features of the instrumental concert genre during the period of stylistic transition from Baroque to Classicism. The research methodology is based on a comprehensive approach based on historical-cultural, hermeneutic and music-theoretical research methods. The main theoretical methods of work are: historical-comparative, genre-stylistic, systematisation, generalisation, analysis. The scientific novelty lies in the fact that questions of the evolution of the instrumental concert are considered in the context of stylistic changes from Baroque to Classicism. Special attention is paid to intra-genre changes, which have not been received due attention by musicologists. Conclusions. The genre of the instrumental concert of the transition period from Baroque to Classicism is marked by a certain dual character. First of all, this manifests itself at the level of form, which is characterised by both ritornello and sonata principles of thematic organisation. Along with the alternating exposition of sections of the sonata form by the orchestra and by the soloist, which comes from the baroque concerto grosso, in the early classical samples of the instrumental concert, there is a dialogic type of exposition of the material at the level of thematism, approved in the classical samples. The coming to the fore and dominance of the soloist in the concert causes a change in the texture of the solo part, which acquires extraordinary virtuosity and improvisation. This affects the strengthening of the role of the soloist, the rejection of his participation in the tutti, leadership in the presentation of the material, which leads to the multiplicity and diversity of thematics. At the same time, the orchestra, in addition to performing an accompanying function in support of the soloist, gets the opportunity to "express" itself in independent "plays", thereby violating the clear distribution of the sections of the sonata form. The specified transformations contributed to the stratification of the sound space and the duality of its perception, characteristic of the classic models of the genre. [ABSTRACT FROM AUTHOR]

Kafka's drawing style, like his writing one, is abstemious in the extreme; the question is how to characterize his criterion of subtraction. Studying the diary drawings alongside the text in which they are embedded points toward a general dynamic of deactivation—an aesthetics of disillusion in the baroque tradition of desengaño—that can be seen more clearly than read. Kafka repeatedly draws and writes about thresholds. But while his diary writing tends to thematize a perceived failure to pass from one side to another, the accompanying drawings systematically eliminate this register, and with it, all sense of directional movement or striving. The drawings operate as emblems of a passage, and so also of metapherein, in all its most iconic shapes—ladders, gates, permeable walls—but of a passage suspended at the very apex of its arc, where failure is impossible to distinguish from success. The nihilistic thrust of an aestheticized despair is here in turn negated, and the result, like Wittgenstein's duck rabbit example, is in principle ambiguous. The essay argues that such structural ambiguity becomes a crucial feature of the literary works, which are constructed, as the diary entries themselves usually are not, in accordance with a similarly emblematic technique of double negation or "right despair." [ABSTRACT FROM AUTHOR]

The scientific research is devoted to the disclosure of the most characteristic features and distinctive particularities of the All-Ukrainian festival competition of academic wind music "Magic Flute". This festival-competition has been held by teachers of the academic wind music and percussion department of the Kryvyi Rih Regional Professional Music College for fifty years. The "Magic Flute" is implemented with the constant support of the educational institution's administration and headed by the director of Musical College, L.V. Rakityanska. On the half-century anniversary, the specialized festival competition showed the uniqueness of its creative face. There are maximizing the introduction of various musical and performance forms (solo, ensemble, and orchestral performance on wind and percussion instruments), constant diversification of the repertoire palette (academic masterpieces, works of various cultural and historical periods), involvement of the broadest possible professional wind and percussion academic instruments, as well as artistic and patriotic relaying of the annual holding of this professional and specialized forum of academic wind musicians and percussionists of the Kryvyi Rih region are creating the achievements in the fiftieth anniversary of the artistic life for the "Magic Flute" academic wind festival-competition. The method of historical and comparative analysis of the most significant events in the chronicle of the "Magic Flute" festival-competition, we will emphasize, with the subsequent determination of the stages of formation and development of this large-scale festival-competition event can become a significant prospect for further scientific investigations regarding the specified topic of the presented scientific article. [ABSTRACT FROM AUTHOR]

This article explores the value and lessons of the late baroque for Dalibor Vesely as an example of the role that it played for many architectural educators in the 1970s and 1980s. It shows the specific roots of Vesely's interpretation of the late baroque in the context of the influence of his mentors, the art historian Vaclav Richter, and the phenomenologist Jan Patočka whose thought positioned the late baroque in relationship to the crisis of modernity. It then shows how Vesely used the late baroque in his studio and seminar teaching in the 1980s at the University of Cambridge school of architecture, not only to develop his students' historical and theoretical critique of modern architecture, but as a model for contemporary design practice, finding in examples of late baroque churches, such as Johann Michael Fischer's renovations of the church at Zwiefalten Abbey (1739–65), an architecture of ambiguity, complexity, sensuality, imagination, and holism that could inspire contemporary architecture. [ABSTRACT FROM AUTHOR]

In Baroque Modernity: An Aesthetics of Theater, Joseph Cermatori returns to and reinvents the perennial figure of excess and opulence. Examining the works of Friedrich Nietzsche, Stéphane Mallarmé, Walter Benjamin, and Gertrude Stein, he discovers some latent and manifest strands of seventeenth-century aesthetics and in so doing reformulates a new genealogy of modernism through its recursion to this early modern meta-discourse. Cermatori's generative book thus opens up new paths of thinking into the entanglements of secularity, theatricality, and periodization. [ABSTRACT FROM AUTHOR]

The history of the violin's intricate tuning system is rich with various pitch standards, the influence of musicians, and diversity of violin craftsmanship. The violin offers a wide array of tuning techniques, and even the smallest intonation adjustment can wildly impact the violin's pitch and playability. Violinists possess an enormous capability to facilitate effective tuning in a solo and ensemble setting. The design of the instrument's body, dating as far back as the early Renaissance and extending to the modern violin, impacts timbre, resonance, and string tension. Every detail of the violin, even those that may seem inconsequential, affects its performance outcome. [ABSTRACT FROM AUTHOR]

The paper presents the results of a query concerning Polish-language manuscripts from the 17th and 18th centuries in four centres outside of Poland, i.e. the Polish Library in Paris, Riksarkivet in Stockholm, the Vilnius University Library, and the Library of the Lithuanian Academy of Sciences. The documents collected during the search differ with respect to their genre, as well as time and place of origin, making them a valuable addition to the planned electronic corpus of manuscripts from that period. The article discusses the types of texts in each of the collections and provides search guidelines aimed at helping the reader design their own research and collect data. [ABSTRACT FROM AUTHOR]

This article examines the préludes non mesurés composed for the guitar in the second half of the 17th century. From François Martin's collection of suites in 1663 to Robert de Visée's second book of guitar music in 1686, guitarists published nearly 50 preludes, several of which are rhythmically free or entirely unmeasured. Indebted to the lute and harpsichord repertories, the guitar prelude was nevertheless shaped by the notational and performance practices of the instrument. A review of the printed sources reveals four types of guitar prelude current in the second half of the century: the fully measured prelude; the precisely notated but rhythmically free prelude; the unmeasured prelude; and the strummed, unmeasured prelude with variable rhythm. This last type, which instructs the performer to strum each chord an indeterminate number of times, has no exact analogue in the other instrumental repertories of the era. Comparisons are also made to unmeasured or rhythmically free preludes in manuscript sources including the 'Gallot' manuscript. Together, these pieces attest to a brief but avid interest in unmeasured music on the Baroque guitar. [ABSTRACT FROM AUTHOR]

Introduction. The paper is devoted to one of the objects of cultural heritage forming the architectural appearance of the Musin-Pushkin Estate at the intersection of Dobroslobodskaya and Spartakovskaya Streets in Moscow (now the complex of buildings of the Moscow State University of Civil Engineering) — the main house of the ensemble. This building has a status of federal cultural heritage object and has undergone numerous renovations and reorganizations by present time, and we can see the signs of it in the interiors and on the facades of the monument. Besides, the monument has a great construction history and includes building parts of different periods and architectural styles, which were detected as a result of historical-architectural and field studies. Thus, D.A. Shepelev’s house became the core of the ensemble on “Razgulay”, which later became part of the main building of Musin-Pushkin Estate. The results of the historical-architectural and field studies were considered in the article “D.A. Shepelev’s house as part of the main house of the Musin-Pushkin Estate in Moscow according to the materials of historical-architectural research”, published in the journal Vestnik MGSU. No. 6. 2023. The main aim of this work — to consider information from historical-architectural and field studies in a range of the similar, typologically and stylistically close constructions. This will allow to present the authentic appearance of the disappeared building with the greatest reliability and to give its graphical reconstruction.Materials and methods. The study of the monument was based on the method of comprehensive source study, which includes the search and analysis of sources, literature, and selection of analogues. Studying of the object among stylistically and typologically similar buildings was based on historical-architectural and field studies with using of comparative method.Results. As a result of the conducted research, the materials revealed in the course of historical-architectural and field studies, when considering them in the circle of analogues, received their stylistic identification and found confirmation in the considered, stylistically and typologically close buildings. The conducted analysis allowed us to propose a reconstruction of the original appearance of D.A. Shepelev’s house with baroque facade decoration typical for that time.Conclusions. The proposed reconstruction is the result of complex research, which allows to present the original appearance of the building, which became the basis for the now existing main house of the Musin-Pushkin estate, although this reconstruction does not pursue the purpose of its recreation. It only marks the original appearance of the monument and reveals one of the pages in the history of such a significant for Moscow estate complex.

The paper focuses on two so-called rock castles (Sloup and Jestřebí in northern Bohemia) and their presentation in the early modern topographies written by Mauritius Vogt. While today they are both perceived as former castles, for Vogt, only Jestřebí was an abandoned castle, while Sloup was mainly a hermitage. The relationship between both places leans on their bizarre appearance and connection to the underground. They both were rocks upon a lowland described as saxum vivum. Vogt’s view is contextualized by Athanasius Kircher’s Mundus subterraneus and other works on the underground.

As Irlemar Chiampi points out, any debate on Modernity and its crisis in Latin America that does not include the Baroque is partial and incomplete. On this basis we propose that this American imbrication between Baroque and Modernity can be enlighteningly glimpsed in a masterpiece of the Latin American avant-garde such as Trilce, a book published a century ago by the Peruvian poet César Vallejo, in which the Baroque is not merely a stylistic question but a "sensibility", as the poet called that capacity of the true new poetry to express the modern experience, thus becoming an art of the "counter-conquest", as the Cuban José Lezama Lima imagined it, as a poetic device capable of testifying the tragic excess of the American Modernity through its immanent baroquism. [ABSTRACT FROM AUTHOR]

The purpose of the work is to outline the peculiarities of transcribing the French lute tablature into modern notation and to develop recommendations for arrangements of lute music of the Baroque period for modern academic instruments, due to the growing interest of performers and listeners in the instrument itself and in expanding its semantic, stylistic, and interpretive possibilities. Research methodology. The problems associated with transcribing the French lute tablature into modern notation require a multidisciplinary approach that combines historical scholarship, practical performance experience, and theoretical knowledge. The main methods used in the article are historical, theoretical, and musical-textual. Scientific novelty. For the first time in Ukrainian musicology, the historical background and evolution of transcription of French lute tablature into modern notation are considered. The conditions of transcription of lute music are examined in detail according to the following parameters: the peculiarities of the structure of the lute of that time are first outlined; the issues of the structure - Renaissance vieil-ton and Baroque nouveau-ton - are considered; the peculiarities of deciphering rhythmic notation are analysed, highlighting the specifics of notation of different rhythmic durations, fingering for the right and left hands and the peculiarities of ornamentation, in particular apogiatura and achaccature. It is noted that all of the above notations are deciphered quite freely, based on the composer's intention and talent and the performer's skill. Conclusions. The present study outlines the concept of tablature, considers the issue of the structure of instruments for which musical works were recorded using the French tablature, and provides a brief description of rhythmic notation and ornamentation. When translating, it is important to rely on primary sources, musicological research, and performance practice. Summing up the observations made, it should be noted that the French lute tablature goes beyond notation in the modern sense (a way of writing notes) - it serves rather as a guide to interpretation, inviting the performer to the process of creating music, using the composer's "sketch". [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the Ukrainian experience of historically informed performance in the realm of musical theatre as exemplified by the staging of Henry Purcell's opera "Dido and Aeneas" (Kyiv, 2017). The applied research methodology is interdisciplinary, covering aspects of musicology, cultural studies, and theatre history. General scholarly and special methods are used: historical and cultural; method of historiographical analysis; descriptive; interpretive; comparative; methods of holistic, and musicological analysis. Scientific novelty. The main approaches in interpreting baroque opera are highlighted: authentic and directorial. Dramaturgical and stylistic features of "Dido and Aeneas" are characterised in the context of Western European baroque opera culture of the 17th century. Based on the research of Western and Ukrainian scholars, the leading principles of historically informed performance regarding the implementation of the musical component of an opera work (deciphering musical notation, use of ancient instruments, specifics of vocal and instrumental intonation) are defined. Conclusions. It is clarified that Ukrainian directors follow the basic principles of historically informed performance in interpreting the musical component of the work. The analysis of the direction of the performance reveals a modernised approach to the interpretation of figurative roles and stenography solutions. The specifics of the staging as a phenomenon of historically informed performance in the conditions of the modern director's theatre are revealed. [ABSTRACT FROM AUTHOR]

The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilіі Voloshynov during 1837-1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral). [ABSTRACT FROM AUTHOR]

The purpose of the work is to study the cultural foundations of Hryhorii Skovoroda's philosophy. The research methodology is based on the use of commonly used approaches of analysis, synthesis, and comparison. The study is based on an understanding of the importance of the cultural context of the phenomenon of intellectual history. Scientific novelty. The author argues the thesis about the decisive role of the Ukrainian Baroque in the formation of Ukrainian identity. The author argues that the birth and maturation of authentic spiritual and academic culture is linked to European historical sources. The basic principles of the Cossack Baroque and their manifestation in the creative heritage of Hryhorii Skovoroda are substantiated. Conclusions. The origins and features of Baroque culture are analysed. The attention is focused on the Baroque's desire for universality, the attempt to comprehend infinity, and the attraction to dynamism. The significance of contrasts and antitheses in Baroque culture as a means of reproducing the dynamics of life is emphasised. The phenomenon of the emblem as a means by which things of the external world are introduced into human life and acquire cultural functions is investigated. It is noted that the Baroque is a time of practical action, realisation of energy, and the search for new forms by a person of this era. It is pointed out that Skovoroda develops an understanding of the contemplative attitude as a practical action that requires not passivity, but an active attitude. The tendency of the Western European Baroque to a mystical, eschatological experience of the world is pointed out. The thesis of the optimistic significance of the Baroque style in Eastern Europe is demonstrated. The author shows the connection between Ukraine's contribution to Baroque culture and Hryhorii Skovoroda's philosophical rethinking of the pessimistic manifestations of the modern era. [ABSTRACT FROM AUTHOR]

In this article we intend to analyze the novel El Color del Verano (1991) by the Cuban writer Reinaldo Arenas (Holguín 1943-New York 1990) through the concepts of satire, collage, anachronism, author performance, and semiotic inflation. These features recognizable in the text lead us to think about it from the aesthetic register of the Baroque, especially in its problematization of language and representation. [ABSTRACT FROM AUTHOR]

This contribution focuses on the recent works of Aurelio Musi on melancholy. Firstly the methodology used by the author in approaching the various melancholy characters is analyzed, such as the choice of archival and iconographic sources. Particular attention is also paid to the interesting process of historicizing melancholy in relation above all, but not exclusively, to the centuries of modernity. [ABSTRACT FROM AUTHOR]

Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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.)

At the beginning of the XX century harpsichord went through a major revival. The builders', performers', and composers' approach to reconstruction of this instrument and its sound characteristics have created a whole new system of artistic allusions. That system was unexpected in the context of the instrument's history, yet logical, considering the aesthetic of the time. Original harpsichord pieces of the early-20th-century composers commonly embody mechanical or automatic movements, imitate life of a big industrial city, show evil underworld forces and at the same time allude to baroque aesthetics, the interest to which triggered the revival of the instrument. Paradoxically, the harpsichord in the beginning of XX century is seen as something new and fresh, something able to replace piano, which had already passed its high point. Yet, the harpsichord revival started thanks to the new generation's interest to the music of XVII-XVIII century. Poulenc's harpsichord concerto, known also as Concert champêtre, written for Wanda Landowska and her unique Pleyel harpsichord, is treated here as one of the brightest examples of the multiplicity of meanings of the harpsichord sound in early 20th century. [ABSTRACT FROM AUTHOR]

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The article describes the creative productivity of the archaic writing style of O. Storozhenko. His creativity have successfully completed the Gogol era in Ukrainian literature and have become a forerunner of the phenomenon that fully developed in the so-called chimeric prose in the twentieth century. The artistic style of Storozhenko's writing stood out from the rural prose of that period against the background of practical problems, excessive sociologization and populist pathos of the mid-nineteenth century. Instead, accusations of peasantry, ethnography, local exoticism and trivial biography in the context of modern literary approaches are given to a new reading of this national-aesthetic phenomenon as heterogeneous one, imbued with stylistic innovations, invisible fusion of writing with ideology and aesthetics. Storozhenko moved within the old-fashioned way to an updated artistic word using the chimeric unity of folklore, baroque and romantic traditions. [ABSTRACT FROM AUTHOR]

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 aims to illuminate literary Francophony through the poems of Hassan Honarmandi (2002-1928) in Iran, exploring themes such as Iran, anxiety, woman, daughter of the ocean, colors, and explicit disgust. Honarmandi is considered a fervent supporter of the Baroque-Romantic literary movement in Iran. Furthermore, the elements of "dream" and "emotions" are essential for unraveling the roots of Franco-philic poetry, drawing inspiration from the black romanticism of Gerard de Nerval's "Aurelia" and the passionate romanticism of Charles Baudelaire's "The Passing Stranger." Additionally, the Iranian poet's inclination to embrace French poetry is rationalized by seeking refuge and venturing into the European realm, where the distinct parallels and kinships between his compositions and those of other French poets become evident. Therefore, we will try to show that the works of Iranian poet can be considered as a productive factor in the spread of French poetry in Iran, and this is realized in accepting the works of French authors. This research aims to analyze the socio-cultural dimensions of Franco-philic poetry, emphasizing the literary achievement of Hassan Honarmandi in Iran, with a focus on the fundamental themes of "pessimism" and "despair" embedded in Franco-philic poetry [ABSTRACT FROM AUTHOR]