The triumph of avant-gardes in the 1920s tends to dominate our discussions of the music, art, and literature of the period. But the broader current of modernism encompassed many movements, and one of ...the most distinct and influential was a turn to classicism.In Classicism of the Twenties, Theodore Ziolkowski offers a compelling account of that movement. Giving equal attention to music, art, and literature, and focusing in particular on the works of Stravinsky, Picasso, and T. S. Eliot, he shows how the turn to classicism manifested itself. In reaction both to the excesses of neoromanticism and early modernism and to the horrors of World War I—and with respectful detachment—artists, writers, and composers adapted themes and forms from the past and tried to imbue their own works with the values of simplicity and order that epitomized earlier classicisms.By identifying elements common to all three arts, and carefully situating classicism within the broader sweep of modernist movements, Ziolkowski presents a refreshingly original view of the cultural life of the 1920s.
Victorian Britain set out to make the ancient world its own. This is the story of how it failed. It is the story of the headmaster who bludgeoned his wife to death, then calmly sat down to his Latin. ...It is the story of the embittered classical prodigy who turned to gin and opium – and the virtuoso forger who fooled the greatest scholars of the age. It is a history of hope: a general who longed to be an Homeric hero, a bankrupt poet who longed to start a revolution. Victorian classicism was defined by hope – but shaped by uncertainty. Packed with forgotten characters and texts, with the roar of the burlesque-stage and the mud of the battlefield, this book offers a rich insight into nineteenth-century culture and society. It explores just how difficult it is to stake a claim on the past.
Howard D. Weinbrot challenges the view that the period 1660-1800 is correctly regarded as the "Augustan" age of English literature, a time in which classical Augustan ideals provided a main source of ...inspiration. Scholars have held that British writers of the Restoration and eighteenth century considered Augustus Caesar to be the model of the wise ruler who enabled political, literary, and moral wisdom to flourish. This book shows on the contrary that classical standards, though often invoked, were often rejected by many informed citizens and writers of the day.
Anti-Augustan sentiment consolidated by the 1730s, when both Whig and Tory, court and country, viewed Augustus as the enemy of the mixed and balanced constitution that was responsible for British liberty. Professor Weinbrot focuses in particular on literature and its classical backgrounds, reinterpreting major works by Pope and Gibbon.
Originally published in 1978.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
‘Anticlassicisms’ react to the various forms of ‘classicisms.’ This volume discusses the history and possible implications of the label in Renaissance studies and analyzes such ‘anticlassicisms.’ It ...distinguishes the various forms of opposition to ‘classicisms’ as to their scope (on a scale between radical poetological dissension to merely sectorial opposition in a given literary genre) and to their alternative models, be they authors or texts.
‚Antiklassizismen‘ reagieren auf unterschiedliche Formen von ‚Klassizismen.‘ Der Band untersucht die Geschichte und die möglichen Implikationen dieses Terminus für die Renaissanceforschung und analysiert zugleich solche ‚Antiklassizismen.‘ Er unterscheidet ihre unterschiedlich gearteten Gegenstellungen zu ‚Klassizismen‘ hinsichtlich ihrer Reichweite (auf einer Skala zwischen radikaler poetologischer Opposition und lediglich sektorialer Abweichung innerhalb einer Gattung) und hinsichtlich der je angesetzten Alternativmodelle, seien diese Autoren oder Texte.
The 50th year of Picasso’s death affords an opportunity to look again at his approach to art. My article reconsiders his Suite Vollard (1930-37), a series of 100 prints that are habitually described ...as somehow at odds with modernism, as representative of a legitimately ‘naturalistic’ or ‘traditional style’, and having almost nothing to do with his earlier ‘mode(s)’ of working. As demonstrated, however, the shifting, fragmented and equivocating nature of his print portfolio indicates a far more hybrid form of creativity. It is akin, for example, to the hybridizations of the artist’s Demoiselles d’Avignon (1907) and his collages and papiers collés c. 1912. As such, I resist the tendency to view Picasso’s print series through the rather monocular lens of a definitively ‘classical’ or ‘neo-classical’ style’. In trying to unsettle and reframe the languages and constructs that have consistently plagued Picasso’s Suite, I suggest that its 100 plates are part of a wider stratagem to undo the commonplace occurrences that have always defined the histories of art.
El 50º aniversario de la muerte de Picasso brinda la oportunidad de revisar su enfoque del arte. Mi artículo reconsidera su Suite Vollard (1930-37), una serie de 100 grabados que habitualmente se describen, de alguna manera, como no concordante con la modernidad, como representante de un estilo legítimamente 'naturalista' o 'tradicional', y que no tienen casi nada que ver con su(s) 'modo(s)' anterior(es) de trabajar. Está demostrado, sin embargo, que la naturaleza cambiante, fragmentada y equívoca de su carpeta de grabados indica una forma de creatividad mucho más híbrida. Es similar, por ejemplo, a las hibridaciones de Demoiselles d'Avignon (1907) del artista y sus collages y papiers collés c. 1912. De este modo, me resisto a la tendencia a ver la serie de grabados de Picasso a través de la lente más bien monocular de un estilo definitivamente "clásico" o "neoclásico". Al tratar de desestabilizar y reformular los lenguajes y construcciones que han plagado constantemente la Suite de Picasso, sugiero que sus 100 láminas son parte de una estratagema más amplia para deshacer los lugares comunes que siempre han definido las historias del arte.
Shakespeare and the Classics demonstrates that the classics are of central importance in Shakespeare's plays and in the structure of his imagination. Written by an international team of ...Shakespeareans and classicists, this book investigates Shakespeare's classicism and shows how he used a variety of classical books to explore crucial areas of human experience such as love, politics, ethics and history. The book focuses on Shakespeare's favourite classical authors, especially Ovid, Virgil, Seneca, Plautus and Terence, and, in translation only, Plutarch. Attention is also paid to the humanist background and to Shakespeare's knowledge of Greek literature and culture. The final section, from the perspective of reception, examines how Shakespeare's classicism was seen and used by later writers. This accessible book offers a rounded and comprehensive treatment of Shakespeare's classicism and will be a useful first port of call for students and others approaching the subject.
Blick ins BuchDer Band versucht, das Verhältnis von Klassizismus und Antiklassizismus als polemische Konstellation zu fassen.Die einzelnen Beiträge nehmen die Beziehungen zwischen Klassizismus und ...Antiklassizismus vom 18. Jahrhundert bis zur Gegenwart in den Blick. Gefragt wird nach den polemischen Konstellationen, in denen literarische wie künstlerische Werke beider Strömungen sich aufeinander beziehen, sich gegeneinander abgrenzen und so profilieren. Kontroversen dieser Art lassen sich häufig nicht auf die Intentionen einzelner Akteure zurückführen, sondern werden nur aus einer genaueren Autopsie der strukturellen Verschiebungen erklärbar, die die konkurrierenden Einsätze ermöglichen und deren Ausdruck sie sind. Eine solche Sichtweise soll die wechselseitige Erzeugung und Profilierung distinkter ästhetischer Positionen durch Konkurrenzverhältnisse neu modellieren.
For Aby Warburg, during the Renaissance, the resumption of the ancient gods - idealized classics - was one of the ways that "modern man" found to free himself from servility to medieval demons, as ...processes of sublimation - recurrent and reactive - in which the " artistic man” triggers “mnemonically” an ancient cultural heritage and, in a state of tension between opposite poles, processes its empathic formulation – Pathosformel – through the work. Struggling between the need for guidance and the need for liberation (cosmic-spiritual), "modern men" such as Sandro Botticelli, Albrecht Dürer, and Francesco Cossa, exemplified these conflicts, which from the micro to the macro, Warburg observed in the details of their individual formulations, comprising, at the same time, what they expressed about the entire humanity, tracked by the tracks of cultures and epochs. Conceiving art as a process of sublimating struggle, conflict in a polar tension zone, in the sense of historical psychology of human expressiveness, expanded the young History of Art in thematic and time-spatial terms.
The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to "revive" buen gusto (good taste) are the themes of this collection of essays. ...The contributors provide new insights into neoclassicism and buen gusto as cultural, not just visual, phenomena in the late colonial and early national periods and promote new approaches to the study of Latin American art history and visual culture. The essays examine neoclassical visual culture from assorted perspectives. They consider how classicism was imposed, promoted, adapted, negotiated, and contested in myriad social, political, economic, cultural, and temporal situations. Case studies show such motivations as the desire to impose imperial authority, to fashion the nationalist self, and to form and maintain new social and cultural ideologies. The adaptation of classicism and buen gusto in the Americas was further shaped by local factors, including the realities of place and the influence of established visual and material traditions.
