Period Style Research Articles

Ontology of the Fake: Marielle Heller's Can You Ever Forgive Me?

Can You Ever Forgive Me? adapts Lee Israel's 2008 memoir of the same name to offer a biographical portrait that challenges conventional ideas of ‘psychological ‘insight and development. In their place the film offers a celebration of the aesthetic labour of creating and being a fake. Lee Israel's success as a biographer sees her absent herself in favour of the voice of her subjects but this means she is perversely well-placed to begin their impersonation when financial hardship strikes. Melissa McCarthy's galvanising performance as Lee translates the comic gestures of heist and buddy movie into a more subtle meditation on the performative nature of identity, its fakery as well as its attachment to craft and profession. The film is similarly interested in crafting mises-en-scene of detailed period style, evoking the cinematic scene itself as the product of a style of fakery aligned with queer style and sensibility.

Jbel Bani Rock Art: Newly-discovered Shelters along Mountain Paths suggest a Significant Link between Central Sahara and North Africa (Zagora, Southern Morocco)

Abstract The authors, with the help of a team of researchers, have discovered twelve rock shelters with inside paintings on the southern slopes of the Jbel Bani Mountains in southern Morocco. The paintings vary in subject and time period and span multiple rock art styles. Majestic creatures that once inhabited southern Morocco are depicted next to hunters, pastoralists, and warriors. The shelters and paintings cast upon their walls illustrate a transfer of culture, beliefs, technology, and ideas between people groups of the Meridional and Central Sahara and the Jbel Bani region. These discoveries were all made along a mountain path in the Bani Mountains known as Foum Laachar and may help trace ancient human migration routes.

The metamorphoses of concernity aesthetics in Krzysztof Penderecki’s violins and doppio concerts

The First and Second Concerts for violin and orchestra and the Concerto doppio for violin and viola with orchestra by Krzysztof Penderecki are analyzed in terms of expressing the concernity idea. An attempt was made to trace the dynamics of concernity aesthetics in the mentioned works. It is emphasized that works in different genres for stringed instruments became the artist’s art search laboratory, at the same time, the pinnacles of the main compositional and stylistic periods in the composer’s life. It is a 1960 avant-garde piece for 52 strings chamber orchestra ―The Crying for Hiroshima Victims‖ and 48 Strings ―Polymorphia‖, written a year later. The Master’s return to subtle self-reflection is a milestone, and string instruments have also played a significant role in this process. It has been determined that the metamorphoses of concerto aesthetics in semantic invariant of violin concert on the example of violin concerts by K. Penderecki manifested in the following dynamics: in the works of the author deep tragedy (the First concert), deeply reflexive, sophisticated, and sophisticated music were manifested. Thus, the concertize process in the works is carried out through a return to the symphonic thinking and theatrical procedural, while the musical thinking of the ―last great symphonist‖ (First and Second concerts) is supplemented by the iconic work of neo-romantic stylistics with vivid virtuosity (Concerto doppio). Such polar stylistic features create an artistic concept and predetermine the metamorphoses of concernity aesthetics in the Master’s violin and doppio concerts, which is a movement from form to process, when concertize as a process becomes the main concernity idea. New horizons of such development constitute further prospects of this research.

Classification of historical buildings façade’s details on the basis of order theory

On the basis of theoretical works devoted to the classical theory of architecture, classification of details of facades of historical buildings built on the basis of order theory is presented. The main classification features are the location of elements on the facade and the complexity of the form making. The proposed classification allows covering the variety of types of historical elements of facades in a short course, which is important in the training of architects-restorers, as well as architects using order details. The principles of the proposed classification can be used to study the details of buildings of any stylistic architectural period based on classical order architecture.

Greek Periods in the Book of Hebrews

Abstract It is typical for students of the book of Hebrews to comment on its long, complex sentences or “periods” as evidence of the author’s literary and rhetorical skills. This essay surveys ancient and modern views on the Greek period and finds that they are typically shorter, antithetical or “rounded” statements which may or may not coincide with a grammatical sentence. Example periods in Hebrews are then discussed along with observations on other, supporting literary features of the epistle in those places where the author occasionally employs a periodic style.

Creative work of O. Bogomazov: new finds, research and attribution

Creative work of O. Bogomazov: new finds, research and attribution

HISTORICITY AND THE CONTEMPORARY THEATRE OF KUO PAO KUN AND KRISHEN JIT

What is the place of contemporary art forms from the 1980s within the present global dispensation in which the attempt to obliterate temporality transpired, as witnessed in the Hegelian revivalism of Francis Fukuyama’s The End of History and the Last Man (1992)? This essay suggests that the contemporary of contemporary art in Singapore and Malaysia is less a period style and more a differing artistic response to the end of temporality as a situation. The idea of contemporary art entails the existence of an idea of the contemporary. Temporality, in turn, is to be comprehended as the way time is conceptualised and lived out in society. The contemporary is both an idea of the time in which we are in and a goal of reacting more effectively to the demands of the immediate present. And a part of the 1980s was a sense that earlier regional formations of modern art that had eradicated traditional cultural forms as backward needed to be rethought. The artistic practices of Singapore playwright and director Kuo Pao Kun (1939-2002) and Malaysian director Krishen Jit (1939-2005) are major examples of such artistic responses. Their work incarnates a contemporary in which historicity, cultural memory, and interpretations of traditional art forms had roles. Their overlapping theatre commitments require us to see their engagement with the issue of plural identities within and without the modernising nation-state (for Kuo) and within the boundaries of the modernising nation-state (for Jit) in the decades of the 1980s and 1990s, when that great modern ideology of nationalism was being revamped by globalising imperatives. They represent a shared engagement with a common colonial-era Malayan legacy of multiracialism and state formation from the Cold War. Historicity for Kuo and Jit is not the modernist desire to reconstruct the fragments of the past into a whole, and is not centrally about the representation of the past (though that occurs), but is in the first instance the need to capture the past’s fragments in order to conceive a fuller sense of the present’s multicultural opportunities.

Tests of contrasting expressive content between first and second musical themes

ABSTRACTSince the eighteenth century, music theorists have noted the tendency for Western art-music works to contain themes exhibiting contrasting expressive content. In music exhibiting two main themes, the first theme is commonly characterised as ‘stronger’ or ‘fiery’, whereas the second theme tends to be ‘gentler’ or ‘cantabile’. An examination of 1063 musical works indicates that second themes are less likely to be in the minor mode, but are more likely to be legato, slower in tempo, and involve a quieter dynamic level. Some observations are made regarding changes in the treatment of first and second themes over different stylistic periods.

“Absolutely Palpable Utopias”: The Expressionist Ideas Behind Bruno Taut’s GEHAG Housing Estates

The buildings Taut designed in the late 1920s bear few visible similarities to the expressionistic building and city plans he sketched during and immediately following the First World War. As such, Taut’s works are often separated into distinct stylistic periods. This categorization cloaks Taut’s continued commitment to socialist utopian ideals. This paper treats Taut’s expressionist period as a self-conscious attempt to clarify his architectural and socialist convictions. By situating Taut’s successive architectural phases in historical context, this paper will show how the ideas Taut explored during his expressionist phase continued to influence the design of the residential housing complexes he built with GEHAG in the late 1920s by analyzing his Britz Horseshoe Estate.

Aesthetics of the Classical Period of the Islamic Mughal Empire in India through a Portrait of Abū al-Fath Jalāl al-Dīn Muhammad Akbar

The reign of Abū al-Fath Jalāl al-Dīn Muhammad Akbar (1556–1605) was a fruitful period of the political, cultural and spiritual synthesis of Persian, Indian, and European tradition, as well as an artistic and aesthetic renaissance. This cosmopolitan, universal and charismatic ruler strived for the external, political, material and spiritual well-being of his colourful empire. In search of a balance between the external and internal, and in his endeavours for the unification and uniformity of India he gradually created a completely new style of Mughal arts, which is a stunning reflection of his personality’s transformations, principles, insights, interests, and spiritual growth.The paper focuses on a psychological portrait of the ruler, who dictated aesthetics and the style of the classical period of Mughal arts which consists of the three basic developmental phases of Akbar’s enigmatic character. The thesis on the parallel development of Akbar’s personality and Mughal arts is supported by research on the influence of certain European and Persian aesthetic elements, and mainly on the influence of Indian philosophical-religious tradition (the doctrines on rasa, bhakti, yoga, and tantra). The early period of Mughal arts, with predominantly realistic elements, coincides with the ruler’s dynamic, youthful enthusiasm and immense curiosity to acquaint himself the most varied aspects of external events and appearances. The second, the mature period, which enriches this earlier realism by means of mystical elements and the symbolism of Indian pre-Mughal painting, is marked by the shift into the interior and by searching for the harmony between the material and spiritual. In the late period of Mughal painting, however, reflexive and lyrical works prevail, which are a reflection of completion of Akbar’s spiritual quests, and the unique project of multifaceted synthesis that he undertook and promoted.

Possible implementation of Heinrich Christoph Koch’s analytical terminology in contemporary analytical practice

This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon (Musikalisches Lexikon) and Introductory Essay on Composition (Versuch einer Anleitung zur Composition) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer?s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch?s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch?s analytical terminology and to introduce it into today?s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch?s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch?s postulates as well as an attempt to implement them in todays? practice.

The Choir of Auxerre Cathedral and the Question of a Burgundian Gothic Architecture

Despite criticisms, the classification of the choir of Auxerre Cathedral as Burgundian persists in recent literature. Yet the cathedral’s choir, begun c. 1215, demonstrates the problematic nature of the existing regional categories for French medieval architecture. Based on the 19th-century idea of progress, the conceptual model that conceives Gothic France as consisting of ‘centre and periphery’ and notions such as regional styles or period styles are deeply at odds with medieval concepts of innovation as inclusive of tradition, as evidenced in the biography of Bishop William of Auxerre (1207–20). Indeed, 20th-century studies in support of the classification are contradicted by recent archaeological findings, and neither the historical evidence nor the architectural evidence support a Burgundian label for the choir. The architecture’s distinctly trans-regional character with a mixture of both traditional and up-to-date architectural elements as well as the fact that patronal identities were strongly based on local affiliations and not attached to the duchy of Burgundy, invite a profound reconsideration not only of the position of the choir in the architectural landscape of the early 13th century but also of Gothic architecture of north-eastern France in more general terms.

Mediating Cultural Memory: Ireland and the “Glorious Revolution”

Mediating Cultural Memory: Ireland and the “Glorious Revolution” Leith Davis (bio) On 5 November 1688, William of Orange landed his force of 40,000 men at Torbay in Devonshire. Over the following month, he marched his troops to London, assuming control of the government as James II fled to France. This “Dutch invasion,” in Jonathan Israel’s phrase, would in time be reconceived as the “Glorious Revolution.”1 It would become, in other words, a powerful lieu de mémoire, a term coined by French historian Pierre Nora to designate “any significant entity, whether material or non-material in nature, which by dint of human will or the work of time has become a symbolic element of the memorial heritage of any community.”2 According to Nora, lieux de mémoire “emerge in two stages.” First, “moments of history” are “plucked out of the flow of history,” then are “returned to it,” but in an altered state so that they are “no longer quite alive but not yet entirely dead, like shells left on the shore when the sea of living memory has receded.”3 The 1688 Revolution was plucked out of then returned to history in such a way that it became a “symbolic element” not only of “the memorial heritage” of the English nation but of the British empire as well,4 as it was credited with saving the English nation from tyranny, establishing the rights of individual subjects, and bolstering British power overseas.5 As G.M. Trevelyan famously pronounced, the “Glorious Revolution” was a “turning-point in the history of our country and of the world.”6 While the Revolution has been the subject of a long and complex historiography, recent work has provided new perspectives on the imperial [End Page 185] aspects of 1688, examining, among other issues, its repercussions in British, Atlantic, and European contexts.7 This article contributes an archipelagic context to this wider approach to the Revolution by focusing on the Williamite wars in Ireland. Although William and Mary were proclaimed monarchs in England in February 1689, the conflict in Ireland, known in Gaelic as Cogadh an Dá Rí, or the “War of the Two Kings,” dragged on for nearly three years after William’s landing in Torbay. During this time, as I will suggest, Ireland moved front and center into the sights of the citizens of the metropolis. I begin by considering the way Irish events were initially mediated in newspapers and examining how Ireland itself became represented in space and time through maps and printed works like, Richard Cox’s Hibernia Anglicana, that were advertised in the newspapers. I focus next on how the first major government victory in Ireland, the relief of the siege of Derry on 29 July 1689, served as a crucial point in shaping the conflict in Ireland for the English population. As I indicate, the representation of the siege of Derry drew on articulations of a previous Irish lieu de mémoire, the 1641 Rebellion, reframing them into a template which constructed the rest of events in Ireland as a providential narrative for both Irish and English Protestants. I conclude by arguing that the construction of the 1688 Revolution as a lieu de mémoire subsequent to William’s victory necessitated the erasure of the inconvenient matter of Ireland.8 Instead of appearing as an important theatre of war determining the fortunes of William’s Protestant cause, the “War of the Two Kings” was decoupled from the story of the “Glorious Revolution,” as Ireland itself became a foil to the English and British modernizing project. This writing and re-writing and un-writing of Ireland within the context of the 1688 Revolution thus tells us much about the relationship between cultural memory, cultural amnesia, and empire. Information regarding the conflict in Ireland was initially represented in England on the pages of the six unlicensed newspapers that sprung up shortly after William’s arrival in London in December 1688; the Orange Gazette paid particularly close attention to Irish affairs.9 With their periodic style of reporting, the newspapers gave the war in Ireland “a precise location in space and in time,” shaping the messy confrontation into...

TRANSFORMATION FROM TENT TO ROOM: ROOM OF TRADITIONAL TURKISH HOUSE

The room has a function of nucleus in the formation of Turkish House which has an important place in the sense of traditional residence features in the world and the planning of this residence begins with room. Therefore, this residence is a phenomenon that develops from inner space through outer space. The formation of the room of traditional Turkish house is influenced by various elements. On top of them there come the requirements of nomads and Turkish-Islamic life style. The effects of these are clearly observed in the architectural design and decoration of the room which is shaped by the features of traditional life and bestows its design characteristics from nomad tent. Before immigrating to Anatolia from 11th century A.D., Turks have lived mostly a nomadic life in Middle Asia. Therefore, just like in other Middle Asia cultures; Turks have lived in temporary shelters. After settling in Anatolia and before that after accepting Islam; Turks have started to lead a sedentary life and formed a new living culture with the effect of various Anatolian civilizations, notably the Byzantines. In this way, a type of residence which is built in Anatolia, Balkans and Caucasus in the period of Ottoman Empire has emerged. The room of this type of house which lasted from 15th century to the second half of 19th century forms the nucleus of design. It is possible to pursue the traces of nomadic period and Turkish-Islamic life style as the characteristics of design in the design of this room.In the scope of this study, characteristics of design of the room which forms the design nucleus of traditional Turkish House is studied and similarities and differences with tent which are the shelters of nomadic period are observed in the sense of usage and function. Safranbolu district which is has around 2000 traditional houses and which is recorded in the list of cultural heritage by UNESCO is chosen. Safranbolu is an important settlement which is on the old Silk Road in Anatolia and developed in the period of Ottoman Empire. Through the end of 18th century famous geographer Ibn Sa’id asserted that 100.000 nomads with tents were living in the area in which Safranbolu is also included. Therefore, an important historical characteristic of Safranbolu area is the settlement of nomadic people called “Yoruk” who carried the nomadic living tradition of Middle Asia to Anatolia and reflecting their way of living on their houses. In this sense, Yoruks have great effect on the historical development of the area. Safranbolu houses are chosen for the reasons that they have all the features of a traditional residence; reflect the geographical, economic and social structure of the area on the houses at best and have rich examples in the sense of room design. For this reason, first of all general features of life style in the nomadic period and in the period before the acceptance of Islam and then the effects of these features on the spaces of shelter were studied. In the second process, shelter spaces of nomadic period were observed, in the third process general features of traditional Turkish house were studied, in the fourth process the formation of room in this residence types was studied in the sample of Safranbolu house and finally expressing the similarities and differences between nomadic period shelters and room, elements that influence the formation of room and the results were studied in the light of findings.

KAJIAN AL-QURAN DI INDONESIA

This paper focuses on a mapping study of the development of Qur’anic and interpretation study generally in Indonesia. It aims to see how far the map of development of the Qur’an Study in the region of Indonesia. Previously, it is important to trace the beginning of the historical entry of Islam, the pattern and system of teaching the Koran, along with its development by looking at the work of commentary scholars and commentary on the interpretation of scholars. The method used is bibliography with supported documentation of related works. The results are the study of the Qur’an in Indonesia from classical to contemporary times evolved from the conventional pattern of the class (learning al-Qur’an in pesantren, madrasah, and home), a ceremonial event and even in competition (model reading al-Qur ‘ in various events such as One Day One Juz, STQ, MTQ, and others). On the other hand, the growth of interpretation and translation of the Koran in Indonesia is somewhat slower than the writing of interpretations in the Middle East. In this case the author traced the period of history of writing al-Qur’an interpretation according to Nasharuddin Baidan: Classic Period (7-8 H./15 CE); The Middle Period (16-18 AD); PreModern Period (19th Century); The Modern Period (The 20th Century (1900-1950, 1951-1980, 19812000, 2001-present) At first glance, it appears that at first the interpretation became an integral part with other religious teachings propagated by the wali songo (such as the teachings of Molimo and also Lir Ilir) .Then began writing the interpretation with Arabic script in the local language (ex melayu, madura). The work that appears like Tafsir Tarjuman Al-Mustafid.In this period style of writing interpretation is still influenced from the interpretation of Arab lands, such as Jalalain, al-Baidlawi, etc. The modern period is a period of Indonesian interpretation, not only of tahlili but also maudlu’I (thematic themes). The themes are carried on are social, political, economic, gender, ecological, multicultural , and others.

CULTURAL HERITAGE OF THE EGYPTIAN FORM: AN APPROACH TO THE DESIGN TRADITION OF HANGING TEXTILES

Abstract This article considered the development of hanging textile design in Egypt. The aim of the paper is to outline the Egyptian traditions and beliefs in design that characterize Egyptian hanging textile design authenticity. The focus and scope on the development of design thinking within Egyptian cultural heritage required a reflexive approach on the anthropological practice of hanging textile design and its attendant socio-cultural relations which constituted the design strategies of hanging textiles in Egyptian history. To achieve a better understanding of how have designs of hanging textiles in Egypt developed through the ages and the hanging design traditions of each age, the article weaved the hangings textile design traditions and three major historical periods of Egypt through examined the culture, art and design of hanging textiles in Pharaonic Egypt, Coptic era and Islamic Egypt. Besides, the influence of weaving technology on Coptic style. It also focused on the design traditions throughout the Egyptian history as the structural mechanism interwoven with relationship between culture heritage and textile designer. It defined as the ideological applications and can be interpreted into cultural transmission. The article shed light on the cultural significance of hanging textiles in Egypt. From our review of three eras in Egyptian history, hanging textile design in Egypt has significant values and practices throughout history, the customs associated with its production reinforce the sense of identity and build up links with the Egyptian historical context. Authenticity of the Egyptian hanging textiles through design traditions and culture regard as a matter of style, it is a way, a method, a mode of existence- it is a matter of how Egyptian hanging textiles were designed. Culture systems have a profoundly important effect on the ontological status of an art work (modes of being of the art object). Thus, hanging textiles in this case embodies some mode of being and cover the style of a specific period as a result of Egyptian society's ideology. It is a kind of acceptance of the social circumstances during this time.

The sinister steeples of Alexander North

Alexander North (1858–1945), who practised chiefly in Tasmania, was an outstandingly original architect during the stylistic period in Australia now commonly called Federation. His work includes features that represent an extreme expression of established forms, and draws attention to some inadequately explained characteristics of the period. Prominent among these is a series of church spires that North designed in Tasmania between 1893 and 1927, which evoke peculiar associations in the minds of many who notice them. Those associations, which depend mainly on graphic works published during the same era, were unlikely to have been intended by the architect. They provide evidence in support of an associationist theory of aesthetic response that has gone out of fashion, and a salutary reminder that architectural historians must seek to see through the eyes of their period and not the projections of hindsight.

Single-crystal copper nanorods under uniaxial tensile load with different period by molecular dynamics

The single crystal nanorods under uniaxial loading and unloading tensile with different period along crystallographic orientations [110] and axial directions being applied constant tensile rates are simulated respectively by method of molecular dynamics to elucidate the effect of periodical tensile stress and another mechanical properties of the single crystal copper within the Nano-scope. After stimulation, we compare the different features and phenomenon between the loading style of period and none of period. In the case of periodical loading, nanorods show the various maximum stress at yielding stage, and after yield, the degree of fatigue depends on the period of step heavily. Our results suggest that the mechanical character of single crystal copper nanorods is remarkably influenced by the steps of loading period when we use the maximum yield stress σs at none of periodical loading condition as underlying reference. At the following text description, it has been expressed that the total number of loading and unloading circle may affect the mechanical response of the MD system. When the semi-periodical loading steps or the total steps of whole periodical load near to 5.1×103 steps (8.7×103 steps for the other model), the model system occurs to the Nano-scale fatigue. And the Nano-scale fatigue will lead to the yield point decreasing in turn on account of various periodical steps.

ANTHROPOMORPHIC REPRESENTATIONS ON MEDIEVAL RINGS IN SERBIA

Jewellery represents a very indicative and chronologically sensitive type of archaeological material, expressing the fashion and style of a certain period, and certain examples have characteristics related to specific cultures and indicating ethnic affiliation of persons wearing it. Medieval rings, just like jewellery in general, represented an integral part of the traditional garb as well as a decorative piece that an individual carried in life and was often buried with it too. Their unchanging shape makes them the most conservative piece of jewellery, which has retained the same form until the present time. What varied through time/space were materials the rings were made of, the quality of production, the choice of motives and also the appearance of the hoop and the shape of the head of the ring.This paper offers an analysis of medieval rings with anthropomorphic representations. According to the number of figures represented on the head of the ring, two groups are distinguished: rings with one or with two human figures. With respect to the elements represented alongside the figure defining it more precisely, the first group includes rings with warriors and holy warriors. With respect to the variations in compositions with two figures, we can distinguish four groups of rings: the ones with a cross between human figures; the ones with hands raised in the act of benediction; the ones with a halo; the ones without a halo around the figures’ heads.The rings are dated back to the 12th century and the first decades of the 13th century. According to results of archaeological research, they are mostly found on necropoles in Eastern Serbia. Similar to the most of the rings from this period, they belong to the Byzantine cultural circle, i.e. they imitate Byzantine models, and certain examples can be linked to the strengthening of Christianity among the Slav populations of the Balkans.

Późnobarokowy sobór św. Mikołaja w Sankt Petersburgu, dzieło Sawwy Iwanowicza Czewakińskiego na styku epok

The aim of the article is to allow for a closer look at the architecture of St. Nicolas Cathedral of Saint Petersburg build in 1753-1762, and its place in the history of art. It is the most important and best-preserved artistic achievement of the Russian architect Savva Chevakinsky, as well as a glorious example of Elizabethan baroque style. The maker of the cathedral boasts a rich and versatile project output. He then educated subsequent artists significant to the history of architecture. Chevakinsky possessed deep and comprehensive preparation, enabling him to accept miscellaneous commission orders. In his most important masterpiece the architect included references to Old Russian architecture and interestingly interpreted artistic motifs used in leading contemporary European architecture. The artist experienced an abrupt change of the operative style, from baroque to classicism. His decision to withdraw from artistic life was obviously premature. The article depicts that exciting historic figure through the prism of his architectonic achievements, the people he encountered over his lifespan as well as his own vicissitudes of life. Saint Petersburg’s architecture of the Middle of 18th century reflected a shift in both stylistic periods as well as the cultural and aesthetic approach of the ruling elites of the time.