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New Classicism provides an in-depth look at a form of design that appeared lost forever with the rise of modernism in architecture. But now, with an intense revival of interest in classical design, and with the demise in popularity of the subsequent postmodernism, new vigor has infused traditional forms and motifs. Focusing on approximately thirty projects by the best classically oriented firms in the United States and Britain, New Classicism examines this burgeoning new vogue for the many varieties of traditional classical design. The result is a dazzling array of highly disciplined and high-profile classical designs, ranging from the exquisite work of John Blateau and Alan Greenberg's eighteenth-century-inspired reconfiguration of the interiors of the U.S. State Department to the Nashville public library designed by Robert A. M. Stern and projects from the classical-design program at the University of Notre Dame. New Classicism provides an in-depth look at a form of design that appeared lost forever with the rise of modernism in architecture. But now, with an intense revival of interest in classical design, and with the demise in popularity of the subsequent postmodernism, new vigor has infused traditional forms and motifs. Focusing on approximately thirty projects by the best classically oriented firms in the United States and Britain, New Classicism examines this burgeoning new vogue for the many varieties of traditional classical design. The result is a dazzling array of highly disciplined and high-profile classical designs, ranging from the exquisite work of John Blateau and Alan Greenberg's eighteenth-century-inspired reconfiguration of the interiors of the U.S. State Department to the Nashville public library designed by Robert A. M. Stern and projects from the classical-design program at the University of Notre Dame.

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Dust Jacket in Near Fine condition.

Architecture in Copenhagen during the last 50 years of the Absolute Monarchy coincides with the flourishing cultural epoch now known by the evocative name.. the Golden Age. Nevertheless we use the term neo-Classicism, or simply Classicism, for the particular style of architecture that reached its peak in this period. It was the peak in quality because outstanding architects made their mark of the city.. from C.F. Harsdorff's Amalienborg Colonnade to Gottlieb Bindesoll's Thorvaldsens Museum. It was also an artistic peak because the genius of C.F. Hansen raised the architecture to highest international stature through such magnificent buildings as Christiansborg palace and the Royal Chapel, the Town Hall and Courthouses on Nytorv and Vor Frue Kirke (The Church of Our Lady). And it wasa peak in scope, since a series of great fires... in 1794, 1795 and 1807.. led to a veritable building boom during which architects together with a large group of Academy-trained master craftsmen gave the city an entirely new face.. the face of Classical Copenhagen.

Architecture in Copenhagen during the last 50 years of the Absolute Monarchy coincides with the flourishing cultural epoch now known by the evocative name.. the Golden Age. Nevertheless we use the term neo-Classicism, or simply Classicism, for the particular style of architecture that reached its peak in this period. It was the peak in quality because outstanding architects made their mark of the city.. from C.F. Harsdorff's Amalienborg Colonnade to Gottlieb Bindesoll's Thorvaldsens Museum. It was also an artistic peak because the genius of C.F. Hansen raised the architecture to highest international stature through such magnificent buildings as Christiansborg palace and the Royal Chapel, the Town Hall and Courthouses on Nytorv and Vor Frue Kirke (The Church of Our Lady). And it wasa peak in scope, since a series of great fires... in 1794, 1795 and 1807.. led to a veritable building boom during which architects together with a large group of Academy-trained master craftsmen gave the city an entirely new face.. the face of Classical Copenhagen.

The book redefines the significance of Palladianism as one of the central discourses of eighteenth-century British culture. By revealing the interdependence between British and Continental architecture of the period, and by reintegrating Palladian classicism with contemporary British culture in all its manifestations (from imported opera to science, commerce and agriculture), this work challenges the current scholarly paradigm which constructs Palladianism as an essentially indigenous phenomenon (a "national taste" in architecture) and as an elitist high art form. The author interprets contemporary architectural publications as fundamental instruments of nascent modernity (aiding rationalization of the state and its institutions), and demonstrates that Palladian classicism promoted in these texts was a site of negotiation between traditional and modern concepts of political power and patronage, national identity, and social order. In Arciszewska's ground-breaking analysis we see classicism revealed as an ideological and visual regime filling the void created by the collapse of traditional, pre-modern foundations of authority - as a contested terrain in which power and ideology, class, gender and national interests intersected with great intensity, reshaping eighteenth-century Britain.

2020 OUP hardcover edition. Light reading wear else very good condition.

From Introduction - The narrative of recent architecture tells how Post-Modernism, was born to disreputable Modernist parents, left home and took to the road, how he went to Shingle-style and Neo-Corbusian American, how he served in the household of Late-Modernism, and how, after more adventures - such as the short-lived affairs he had with Queen-Anne Revival and Collegiate Gothic - he returned to a Classicism that was to qualified as Free-style. (Description by http-mart)

Hard cover in box slip case. Amazing comprehensive study of decorative arts from 1630 to 1760. Full color illustrations and photos, bibliography, glossary and notes an indispensable reference.

Scholars have generally agreed that the story of New Text Confucianism in late imperial China centers on K'ang Yu-wei and the late nineteenth-century political reforms he took credit for after fleeing China in 1898. In this important new book, Benjamin Elman explores the roots of New Text ideas and shows that Confucians first dissented from the orthodox raison d'etre of the imperial state over three hundred years earlier, during the transition from the late Ming to early Ch'ing dynasties.New Text scholars, although not revolutionary, stood for new forms of belief, and they challenged the authenticity of classical sources upon which much orthodox political discourse had been based. Their notions of historical change proved to be important stepping stones toward an influential New Text vision of social and political transformation that climaxed in the 1898 reform movement.Elman examines the conflicting New Text versus Old Text portraits of Confucius in order to gain a more precise grasp of classical studies in imperial China as the ideological source for the "constitutionality" of the Confucian imperium. Central to his argument is the discovery that kinship organizations in pre-modern China played an important role in fostering schools of learning such as the Ch'ang-chou New Text school. Accordingly, this study affords us a unique perspective on how gentry sought to impose their agenda on the state in an effort to weather the great changes occurring during the Ming and Ch'ing dynasties.

Learn why Cicero is considered one of the most important individuals in all of Western culture!Marcus Tullius Cicero (106-43 BC) was a poet, philosopher, writer, scholar, barrister, statesman, patriot, and the linguist who helped make Latin into a universal language. His many influences in rhetoric, politics, literature, and ideas are seen throughout Western civilization. Cicero, Classicism, and Popular Culture explores the fascinating man behind the eloquence and his monumental effect on language, morality, and popularity of Western culture. One of the leading authorities on popular culture, Dr. Marshall Fishwick discusses the multifaceted man who may be, besides Jesus, the central figure in all of Western civilization.The author recounts his own personal quest of traveling the land and ancient cities of Italy, gleaning insights from people he met along the way who have knowledge about Cicero’s life and times. However, Cicero, Classicism, and Popular Culture is more than a simple search for the man and his accomplishments, a man whose mere words changed the way people think. This book shows in each of us the roots of our own ideas, beliefs, and culture. Cicero, Classicism, and Popular Culture discusses: Cicero’s rise to acclaim his affect on the language of popular culture common traits Cicero shared with Thomas Jefferson rhetoric, the art of oratory community two pivotal essays on friendship and old age vision of his reputation the search for peace Marshall McLuhan, Ciceronian Cicero’s Rome Cicero’s ancestral home of Arpinum Julius Caesar, politics, and the influences of Cicero the Roman republic and its downfall America as the new Rome much more!Cicero, Classicism, and Popular Culture is a startling, entertaining examination of the man who made Western culture what it is today. The book is insightful reading for educators, students, or anyone interested in one of the major forces in popular culture.

Winner of the New Scholars Book Award from the American Educational Research AssociationDebates continue to rage over whether American university students should be required to master a common core of knowledge. In The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1910, Caroline Winterer traces the emergence of the classical model that became standard in the American curriculum in the nineteenth century and now lies at the core of contemporary controversies. By closely examining university curricula and the writings of classical scholars, Winterer demonstrates how classics was transformed from a narrow, language-based subject to a broader study of civilization, persuasively arguing that we cannot understand both the rise of the American university and modern notions of selfhood and knowledge without an appreciation for the role of classicism in their creation.

Presents a selection of more than 100 furnishing textiles and designs that range from a spectacular printed hanging designed by the Wiener Werkst,tte artist, Dagobert Peche, between 1911 and 1918, to a series of dramatic woven, silk and metal wall coverings Les Colombes designed by Henri Stephany for the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes. The Art Deco period is well represented by the works of Raoul Dufy, Alberto Lorenzi, Robert Bonfils, Alfred Latour, Emile Alain Seguy and Paul Dumas. Although the majority of pre-Second World War textiles are of French origin, the exhibition also includes some rare British furnishing fabrics from the 1930s, in particular the iconic and very elegant Magnolia Leaf by Marion Dorn, woven in off-white and silver viscut by Warner & Sons in 1936. During this period, Britain attracted talented European designers, such as Jacqueline Groag and Marian Mahler who had trained with Josef Hoffmann at the Vienna Kunstgewerbeschule.

New Book. Shipped from UK. Established seller since 2000.

Winner of the New Scholars Book Award from the American Educational Research AssociationDebates continue to rage over whether American university students should be required to master a common core of knowledge. In The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1910, Caroline Winterer traces the emergence of the classical model that became standard in the American curriculum in the nineteenth century and now lies at the core of contemporary controversies. By closely examining university curricula and the writings of classical scholars, Winterer demonstrates how classics was transformed from a narrow, language-based subject to a broader study of civilization, persuasively arguing that we cannot understand both the rise of the American university and modern notions of selfhood and knowledge without an appreciation for the role of classicism in their creation.

Unread book in perfect condition.

Architectural Design Magazine dedicated to post- modern classicism.

Often described as Prince Charles's favorite architect, Quinlan Terry is at home in every traditional style, from Classical Greek to Roman, Gothic to Renaissance, and Baroque to Neo-classical. With intense new interest in classical design, there is a high demand for a compilation of Terry's work, a volume that showcases the ideas and creations of one of the world's most daring traditionalist designers. At the pinnacle of his career—this year's winner of the Driehaus Prize, classical architecture's highest honor—Quinlan Terry is one of the most celebrated practitioners of the form and also perhaps the most radical. Radical Classicism contains hundreds of lavish color illustrations and thirty of Terry's designs, including state rooms at #10 Downing Street, a library and residential building at Cambridge University, a cathedral in Essex, a church in Bishopsgate, four buildings in Williamsburg, Va., townhouses in London, and ten large country houses in England, Germany, and the U.S. Buildings featured include Juniper Hill in Buckinghamshire; Ionic Villa, Corinthian Villa, and Regency Villa in Regents Park, London; Abercrombie House in Kentucky; Latourette Farm, New Jersey; Highland Park House, Dallas, Texas.

The last century has witnessed the ascendancy of the avant-garde in music. From Schoenberg to Boulez to Stockhausen, the avant-garde has defined the modern conception of musical creativity. Contemporary serious music demands the "new" in terms of style, form and ways of listening and hearing. Implicit in this approach is the rejection of the "old", from the baroque to the music of the later 19th-century symphonists. Paradoxically, however, it is this "old" repertoire which contiues to dominate concert programmes. An exploration of this dichotomy lies at the heart of this book. Drawing on a wealth of European philosophical and musical texts, Brian Etter examines the origins of the avant-garde and its relation to modernity in tandem with the history of the tonal tradition. The aim is to understand the aesthetic issues that arise from the juxtaposition of these two approaches to music in the concert hall. A wide-ranging survey of historical texts concerned with the philosophy of music helps us to recover the concept of the metaphysical and its importance over the ages to the musical tradition in both its classicist and its modernist phases. Etter argues that metaphysical understanding is crucial for the construction of a common culture and suggests that by re-integrating it into our aesthetic approach to music, we can better understand our musical heritage and its future.

Unread book in perfect condition.