U članku se obrađuje povijest i arhitektonske značajke barokne palače Giovannija Felicea de Gerliczyja u Rijeci, smještene u uličnom nizu i danas skrivene iza historicističkog pročelja u Ciottinoj ...14. Palača je podignuta pedesetih godina 18. stoljeća, a njezin izvorni izgled poznat je s nacrta iz 1780. koji se čuva u Austrijskom državnom arhivu. Oblikovanje i prostorna organizacija palače, vidljivi na nacrtu, svjedoče da je bila riječ o reprezentativnom stanovanju te imućnom i važnom naručitelju. Izvorno dvokatna, trokrilna palača imala je asimetričan prostorni raspored, ali je uočljiva tipično barokna osovinska postava središnjeg salona prvog kata koji se pruža cijelom širinom zgrade te ulaznog predvorja u njegovoj osi u prizemlju. U članku se donosi analiza izvornih oblikovnih i prostornih obilježja palače, a posebno pojave, organizacije i elemenata francuskog parternog vrta, koji je, kao i sama palača, bio u mnogome sačuvan sve do kraja 19. stoljeća. Tijekom 19. i 20. stoljeća palača je preživjela brojne preinake koje su u unutrašnjosti značile adaptaciju prostora za građanske stanove, dogradnju trećeg kata, a na pročelju izvedbu historicističkog ukrasa.
Modern Architectural Theory is the first book to provide a comprehensive survey of architectural theory, primarily in Europe and the United States, during three centuries of development. In this ...synthetic overview, Harry Mallgrave examines architectural discourse within its social and political context. He explores the philosophical and conceptual evolution of its ideas, discusses the relation of theory to the practice of building, and, most importantly, considers the words of the architects themselves, as they contentiously shaped Western architecture. He also examines the compelling currents of French rationalist and British empiricist thought, radical reformation of the theory during the Enlightenment, the intellectual ambitions and historicist debates of the nineteenth century, and the distinctive varieties of modern theory in the twentieth century up to the profound social upheaval of the 1960s. Modern Architectural Theory challenges many assumptions about architectural modernism and uncovers many new dimensions of the debates about modernism.
The matter of mind Braider, Christopher
The matter of mind,
c2012, 20121231, 2017, 2012, 2012-12-31, 2017-01-23
eBook
"What influence did René Descartes' concept of mind-body dualism have on early modern conceptions of the self? In The Matter of Mind, Christopher Braider challenges the presumed centrality of ...Descartes' groundbreaking theory to seventeenth-century French culture. He details the broad opposition to rational self-government among Descartes' contemporaries, and attributes conventional links between Descartes and the myth of the 'modern subject' to post-structuralist assessments. The Matter of Mind presents studies drawn from a range of disciplines and examines the paintings of Nicolas Poussin, the drama of Pierre Corneille, and the theology of Blaise Pascal. Braider argues that if early modern thought converged on a single model, then it was the experimental picture based on everyday experience proposed by Descartes' sceptical adversary, Michel de Montaigne. Forceful and provocative, The Matter of Mind will encourage lively debate on the norms and discourses of seventeenth-century philosophy."--pub. desc.
Naslovni veliki prepošt Stipan Grdenić (Stipan Gerdenich, mađ. Gerdenich István) (1786.-1848.). svojim je spisateljskim i prevodilačkim radom obogatio ponajprije hrvatsku nabožnu književnost među ...Hrvatima u Pečuškoj biskupiji i šire, a ne u zadnjem redu i mađarsku i njemačku, usadivši u svoje vjernike bogoljublje i čovjekoljublje te ustrojio snažan Marijin kult tipičan baroku i na taj način promicao moralnu obrazovanost kršćana. Grdenićevo nasljeđe povezuje vremenski tijek razvoja pisane riječi u inojezičnom području, tj. mađarskih Hrvata, jednako tako i svih Hrvata. Pokazao se je mađarskim domoljubom i hrvatskim rodoljubom. Nastojao je na podizanju kulturne i duhovne razine narodnog života. Hrvatski vjernici u Mađarskoj i danas posezaju za njegovim štivima pisanim na materinskom jeziku. Pisao je na hrvatskom jeziku "na duhovnu korist ilirskog naroda" molitvenik, propovijedi, a na tri jezika položio temelje ustrojavanju Marijinog kulta te je knjige izdao u 9 tisuća primjeraka (!)
Ciklus fresaka u crkvi Majke Božje Koruške1 u Križevcima, izvedenih 1726., poznat je u historijsko-umjetničkoj literaturi, te je prepoznat kao važan opus na početku prodora kasnobaroknog iluzionizma ...u hrvatske zemlje. Međutim, još uvijek nije na zadovoljavajući način atribuiran, čak niti kontekstualiziran. Povezivan je s imenima pavlinskih slikara Franje Bobiča i Ivana Krstitelja Rangera, odnosno s pavlinskim slikarskim krugom općenito. S druge strane uočena je poveznica s donještajerskim slikarstvom, posebno opusom slikara Franza Ignaza Josefa Flurera. Na temelju komparativne analize autor odbacuje pavlinske veze, te predlaže atribuciju freske bliskom suradniku – sljedbeniku štajerskog majstora Flurera.
As a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power ...of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign
Grafika Austroseraphicum Coelum Paulusa Pontiusa - jako dzieło o charakterze propagandowym - powinna kreować nową rzeczywistość, tworzyć pozory. Podstawowym wrażeniem, jakie odnosi widz po obejrzeniu grafiki, jest zachwyt nad potęgą habsburską, która współdziała z potęgą Matki Bożej. Ona z kolei odnosi odbiorcę do Boga, podobnie jak umieszczeni na rycinie franciszkanie stają się symbolem Kościoła. Stanowi to punkt wyjścia dla dalszych interpretacji obrazu. Przez obecność określonych postaci, alegorii, symboli, dają się zauważyć aluzje do określonej sytuacji politycznej w Niderlandach - wojny Hiszpanii z północnymi prowincjami. Przesłanie grafiki brzmi: Habsburgowie hiszpańscy, na mocy zleconej im przez Boga misji, są w stanie odeprzeć wrogów, w szczególności protestantów, a pomoże im właśnie Niepokalana i franciszkanie. Zasadniczym celem jest przekonać widza, że tak się wydarzy, zbudować w jego głowie obraz nowej rzeczywistości. Lecz Hiszpania była w XVII wieku (za Filipa IV ten stan się pogłębiał) zaledwie cieniem dawnej potęgi. Tym bardziej należało utrzymywać przekonanie, że imperium niezachwianie trwa nadal. Forma dzieła (grafika) pozwalała też eksportować je w dowolne miejsce świata, a przez wieloznaczność symboliki, jego treść odnosić do różnych kontekstów, w wyniku czego Habsburgowie, już nie tylko hiszpańscy, mogli propagować swoją siłę dosłownie wszędzie. Spisywała się zatem znakomicie zarówno jako pojedyncze dzieło propagandowe, jak i element szerszej kampanii
This paper argues that the relevance of hospitality in Melanesia has been under-theorized. It does so by examining four cases of the hospitality motif: the idea of 'guests of the land' among the ...Daribi; the ritualized feasting and dispensation of 'containment' among the Usen Barok named lak mamaran -' Godspeed', literally meaning 'luck in the double focus' (though the Barok language, lacking a word for 'luck', had to borrow one from English); the non-reciprocal character of the imbatekas sorcerer among the Tangu of Madang province; and the consumptive and predatory hospitality of the Kiwai of the Fly River estuary. I shall conclude with a consideration of the North American potlatch, a generic anthropological quasi-institution that has been distorted out of all ethnographic proportion by what I shall call the 'reciprocity speculation bubble'. Le présent article avance que la pertinence de l'hospitalité en Mélanésie n'est pas suffisamment théorisée. Pour le démontrer, il examine quatre déclinaisons du motif de l'hospitalité : l'idée des « invités de la terre » chez les Daribi, les festins ritualisés et la distribution chez les Usen Barok de « contenance », appelée lak mamaran (« bonne chance », littéralement « la chance sous deux aspects », mais la langue barok n'ayant pas de mot pour « chance », il a fallu emprunter « lak » à l'anglais), la non réciprocité du sorcier imbatekas chez les Tangu de la province de Madang, et l'hospitalité consommatrice et prédatrice des Kiwai de l'estuaire de la Fly River. L'auteur conclut par une considération sur le potlatch nord-américain, quasiinstitution anthropologique générique, déformée jusqu'à en perdre toute proportion ethnographique par ce qu'il appelle « la bulle spéculative sur la réciprocité ».
This volume ('Johann Ludwig Schönleben (1618–1681): A description of his life and work') features the first fundamental research on Johann Ludwig Schönleben (1618–1681), an important Carniolan ...historian, preacher, theologian, and polymath, who despite his greatness and importance for the Slovenian and wider European environment has not yet been comprehensively studied. It presents his life in detail, explaining many aspects of his life that have been unknown or poorly known up to now. The biographical part is followed by an overview of Schönleben’s entire oeuvre, which includes all of his printed and manuscript writings discovered so far, either preserved or unpreserved. The last two chapters focus on Schönleben’s historiographic and rhetorical or preaching works, placing his most important printed works in these two areas at the forefront, but also taking into account his extensive manuscript material. This volume provides an evaluation of Schönleben as a historian and preacher, and draws attention to the important transitional role he played in these two areas (influencing the works of his successors Johann Weikhard von Valvasor, Johann Gregor Thalnitscher, Tobia Lionelli, and Jernej Basar).
U članku se analizira povijest gradnje i uređenja barokno-klasicističke kuće Grlečić-Jelačić na Trgu sv. Marka 9 u Zagrebu. Utvrđuje se da je kuća formirana na mjestu ranijih građevinskih struktura ...koje nije moguće posve detaljno identificirati, ali kojima pripadaju zazidane arkade na uličnom i dvorišnom pročelju. Arkade na uličnom pročelju činile su kontinuirani niz arkada kuća koji se nastavljao na južnoj strani Kamenite ulice. Današnju prostornu organizaciju kuća je dobila oko 1776. godine kada ju je kupio Nikola Fridrik Grlečić, koji je dao podići reprezentativno stubište sa stupovima u prvom katu i bogato ornamentiranim kamenim rokoko ogradama. Nakon 1784. kuća je došla u vlasništvo obitelji Jelačić koja je krajem 18. i početkom 19. stoljeća dala obnoviti pročelje u duhu kasnobaroknog Zopfstila, a unutrašnjost opremiti klasicističkim zidnim slikama s prikazima veduta i naslikane arhitekture. Do nove obnove došlo je u drugoj četvrtini 19. stoljeća kada je pročelje nanovo prežbukano te je izvedena stilizirana rustika na plohama u prizemlju i katu u duhu zrelog klasicizma, odnosno bidermajera. Iako je riječ o građanskoj kući, kuća Grlečić-Jelačić svojim se obilježjima ističe kao reprezentativan primjer stambene arhitekture 18. i prve polovine 19. stoljeća u Zagrebu i Hrvatskoj.
Čovjek je biljke kroz povijest koristio za različite svrhe. Od prapovijesti pa nadalje, određene biljke zauzimaju važnu ulogu u životu čovjeka, neke od njih su korištene u utilitarne svrhe. U Egiptu ...su formirali voćne drvorede kako bi okružili svoj posjed, pritom ne narušavajući osnovnu ideju simetrije. U Antici su izrađivali kapitele (glave stupova) prikazujući pojedine biljne vrste, a u Srednjem su vijeku najčešći motivi u bordurama ili u prikazima svetaca i nekih događaja Kršćanske vjere. Za vrijeme baroka perivoji doživljavaju procvat zahvaljujući moćnim europskim vladarima što su perivoj koristili
kao prikaz svoje moći. Ovime se ujedno dotičemo simbolike bilja i primjera baroka iz Hrvatskog zagorja. Isto razdoblje, ali drugačiji gospodarski i klimatski uvjeti uzrokovali su razlike u primjeni i odabiru vrsta. Proučavanjem različite literature o dvorcima Hrvatskog zagorja sastavljen je popis korištenih biljnih vrsta od kojih se najčešće spominju: divlji kesten (Aesculus hippocastanum L.), šimšir (Buxus sempervirens L.), obični grab (Carpinus betulus L.), katalpa (Catalpa bignonioides L.) te rodovi smreka (Picea sp.), duglazija (Pseudo tsuga sp.) i platana (Platanus sp.).
Man has used plants throughout history for various purposes. From prehistoric times onwards, certain plants play an important role in human life, some of which have been used for utilitarian purposes. In Egypt, they formed fruit trees to encircle their property, without disturbing the basic idea of symmetry. In ancient times, capitals (column heads) were made, showing individual plant species, and in the Middle Ages the most common motifs were in borders or in depictions of saints and some events of the Christian faith. During the Baroque, gardens are flourishing thanks to powerful European rulers who used the park as a display of their power. This also touches on the symbolism of plants and examples of Baroque from the Croatian Zagorje. The same period, but different economic and climatic conditions caused differences in use and selection of plant species.A study of the various
literature on castles in Hrvatsko Zagorje has compiled a list of the most commonly used plant species: wild chestnut (Aesculus hippocastanum L.), boxwood (Buxus sempervirens L.), common hornbeam (Carpinus betulus L.), catalpa (Catalpa bignonioides L.), and genera of spruce (Picea sp.), duglasia (Pseudotsuga sp.) and plane (Platanus sp.).
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