The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings wer...The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.展开更多
柏林新博物馆(Neues Museum zu Berlin)中展品—空间关系的发展与处理策略极具代表性,但以往研究仅在建筑实体修复方面进行展开。该研究对其展品—空间关系类型、各类型典型展厅存在的问题沿革和应对策略进行了解析,试图填补对新博物馆...柏林新博物馆(Neues Museum zu Berlin)中展品—空间关系的发展与处理策略极具代表性,但以往研究仅在建筑实体修复方面进行展开。该研究对其展品—空间关系类型、各类型典型展厅存在的问题沿革和应对策略进行了解析,试图填补对新博物馆展品—空间关系发展的认知空白,并从这个经典个案出发,探索可以借鉴和推广的分析与设计方法。研究表明,新博物馆中存在三种典型的展品—空间关系,契合不同的展陈任务且应用了不同的空间展陈设计手法予以平衡。新博物馆的展品—空间关系发展历久弥新,是同类建筑中同类问题发展的一个缩影,对我国博物馆的设计与改造具有深远的借鉴价值。展开更多
文摘The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.
文摘柏林新博物馆(Neues Museum zu Berlin)中展品—空间关系的发展与处理策略极具代表性,但以往研究仅在建筑实体修复方面进行展开。该研究对其展品—空间关系类型、各类型典型展厅存在的问题沿革和应对策略进行了解析,试图填补对新博物馆展品—空间关系发展的认知空白,并从这个经典个案出发,探索可以借鉴和推广的分析与设计方法。研究表明,新博物馆中存在三种典型的展品—空间关系,契合不同的展陈任务且应用了不同的空间展陈设计手法予以平衡。新博物馆的展品—空间关系发展历久弥新,是同类建筑中同类问题发展的一个缩影,对我国博物馆的设计与改造具有深远的借鉴价值。
