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Laurent-Benoît Dewez (1731–1812), Architect in the Age of Enlightenment
A comprehensive overview of Laurent-Benoît Dewez's
architectural works
Laurent-Benoît Dewez (1731-1812), court architect to
Charles of Lorraine, was the most outstanding architect of his
time in the Southern Low Countries. After studying in Italy and
serving in the eminent office of Robert Adam in London, Dewez
developed a personal, classical style that came to embody the
\"Eglise Belgique\" under the Austrian Habsburgs.
He designed numerous castles, abbeys, and churches across
Belgium, but time has not been kind to his legacy: of his 80
architectural projects, many have vanished. However, the
Château de Seneffe, the abbey of Vlierbeek in Leuven, and
the churches in Andenne, Floreffe, and Harelbeke still stand as
testaments to his remarkable talent.
This richly illustrated monograph presents, for the first
time, a comprehensive collection and analysis of the complete
works of Laurent-Benoît Dewez.
eBook
The Persistence of Allegory
In an impressively comparative work, Jane K. Brown explores the tension in European drama between allegory and neoclassicism from the sixteenth through the nineteenth century. Imitation of nature is generally thought to triumph over religious allegory in the Elizabethan and French classical theater, a shift attributable to the recovery of Aristotle's Poetics in the Renaissance. But if Aristotle's terminology was rapidly assimilated, Brown demonstrates that change in dramatic practice took place only gradually and partially and that allegory was never fully cast off the stage.The book traces a complex history of neoclassicism in which new allegorical forms flourish and older ones are constantly revitalized. Brown reveals the allegorical survivals in the works of such major figures as Shakespeare, Calderón, Racine, Vondel, Metastasio, Goethe, and Wagner and reads tragedy, comedy, masque, opera, and school drama together rather than as separate developments. Throughout, she draws illuminating parallels to modes of representation in the visual arts.A work of broad interest to scholars, teachers, and students of theatrical form, The Persistence of Allegory presents a fundamental rethinking of the history of European drama.
eBook
Buen gusto and classicism in the visual cultures of Latin America, 1780-1910
\"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\"-- Provided by publisher.
Book
A Supplement to Nehamas’s Reading of Nietzsche: The Evolution of Nietzsche’s Views on Self-Fashioning
The aim of this paper is to supplement Alexander Nehamas's aestheticist interpretation of Friedrich Nietzsche's views on self-fashioning by exploring the evolution of these views from Nietzsche's early thoughts about the significance of art to life, and by exploring some continuities and differences between this early Nietzsche's thoughts and Nehamas's understanding of mature Nietzsche. First, I will argue that the idea of self-fashioning consists of active and passive aspects united in a particular way. Nietzsche entertained both of these aspects in his earlier writings but did not arrive at their synthesis yet. Then I will investigate the unconscious dimension of self-fashioning, as suggested by Nehamas's Nietzsche, and its relation to the unconscious dimension of Dionysian artistic power, introduced by early Nietzsche. Afterwards, we will see how this project of self-fashioning could be justified within Nietzschean perspective. Finally, it will be shown to what extent such project is “classical”.
Journal Article
Provincial interpretations and regional diversification dynamics in the classical period of Ottoman architecture: The case of Vezirhan Köprülü Mehmet Pasha Mosque
This study investigates the transformation of Ottoman classical-period mosque architecture as it moved from its centralized, geometrically codified form in 16th–17th century Istanbul to the Anatolian provinces, where diverse local conditions fostered typological and representational innovations. Rooted in field-based architectural documentation and comparative typological analysis, the research centers on the Köprülü Mehmet Pasha Mosque in Vezirhan—a distinctive structure combining a domed front portico with a timber-roofed prayer hall, integrated within a roadside külliye complex. The following key findings emerge from the study: (1) A classification of four principal mosque typologies in provincial Anatolia: centralized domed, single-unit domed, timber-roofed, and hybrid plans; (2) The identification of the Vezirhan Mosque as a paradigmatic hybrid structure, which exhibits (i) a hybrid spatial configuration, (ii) a departure from canonical domed schemes through the use of a timber-roofed interior, and (iii) material choices grounded in regional construction traditions, such as rubble masonry and lime-based mortars; (3) An emphasis on how architectural materials and techniques shaped both structural solutions and aesthetic expressions in the provinces; (4) A comparative framework that situates Ottoman provincial mosques within broader center–periphery differentiation models, drawing parallels with examples from the Italian Renaissance, French Gothic/Renaissance, Safavid Iran, and Mamluk Egypt. Ultimately, the study argues that such provincial mosques are not derivative reflections of imperial models but original architectural expressions embodying local identity, regional resourcefulness, and cultural meaning—contributing actively to the transregional historiography of Ottoman architecture.
Journal Article