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Arts and literature of Urcea: Difference between revisions
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====Frontier romanticism==== | ====Frontier romanticism==== | ||
[[File:A2C1D36A-DDA4-4D81-B69B-B8E41443EF76.jpg|150px|right|thumb|''The Civilizing Mission (1870)'' utilizes a pun in its title and depicts a [[Catholic Church]] and priests on the [[Urcean frontier]]; struggle and difficulty is implicit in the imagery of the work.]] | [[File:A2C1D36A-DDA4-4D81-B69B-B8E41443EF76.jpg|150px|right|thumb|''The Civilizing Mission (1870)'' utilizes a pun in its title and depicts a [[Catholic Church]] and priests on the [[Urcean frontier]]; struggle and difficulty is implicit in the imagery of the work.]] | ||
As the [[Urcean frontier]] became gradually settled in the 19th century, many of the Romantic period's landscape portraits also depicted scenes of the [[Urcean frontier]], extolling the virtues of [[Ómestaderoi]] living as part of a greater popularity of these themes and locations coinciding with the rise of Urcean frontier literature. Unlike the "valley romantics", frontier romantics tended to subvert the idealization of nature, instead depicting nature as something dangeorus and ultimately apart from man. This perspective, directly inspired by the troubles real Ómestaderoi faced in settling the area, tends to give the frontier romantics more of a grim tone and style, with more restrained use of color and an increased use of darkness within the work. Still, many of both the methods and background conceptions of the artists remained the same as elsewhere in Urcea, making it not purely a distinct style. Frontier romanticism became popular towards the end of the romantic period and was popular both in the frontier and beyond. Scholars have suggested Urcea's general decline towards the end of the [[Aedanicad]] and reign of [[Aedanicus VIII]] | As the [[Urcean frontier]] became gradually settled in the 19th century, many of the Romantic period's landscape portraits also depicted scenes of the [[Urcean frontier]], extolling the virtues of [[Ómestaderoi]] living as part of a greater popularity of these themes and locations coinciding with the rise of Urcean frontier literature. Unlike the "valley romantics", frontier romantics tended to subvert the idealization of nature, instead depicting nature as something dangeorus and ultimately apart from man. This perspective, directly inspired by the troubles real Ómestaderoi faced in settling the area, tends to give the frontier romantics more of a grim tone and style, with more restrained use of color and an increased use of darkness within the work. Still, many of both the methods and background conceptions of the artists remained the same as elsewhere in Urcea, making it not purely a distinct style. Frontier romanticism became popular towards the end of the romantic period and was popular both in the frontier and beyond. Scholars have suggested Urcea's general decline towards the end of the [[Aedanicad]] and reign of [[Aedanicus VIII]] led to frontier romanticism's popularity, as the grim and realistic view of the world replaced the idealized one as political and economic conditions worsened. | ||
===Skepticism=== | ===Skepticism=== | ||
[[File:IndustrialSkepArt.jpg|150px|right|thumb|''Progress, or the Grand Invention'' (1922) is typical and the most well known painting of the skeptical style.]] | [[File:IndustrialSkepArt.jpg|150px|right|thumb|''Progress, or the Grand Invention'' (1922) is typical and the most well known painting of the skeptical style.]] | ||
In the early 20th century, Romantic and realistic scenes were replaced by artists with the "skeptical" style. This style is defined by semi-surreal scenes with otherwise identifiable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art; common subjects also included easily identifiable historical figures in surreal and {{wp|anachronistic}} scenes. The Urcean skeptical style, which flourished between the [[First Great War]] and [[Second Great War]] was viewed by contemporaries as sophisticated and esoteric, while it was popularly and critically scorned as elitist and complex for its own sake. Due to the period in which it became popular, many of the famous skeptical works are veiled critiques at life in Urcea during the [[History of Urcea (1902-1955)|Restoration period]], focusing on social ills and the changes coming to the country as a result of a century of modernization. | In the early 20th century, Romantic and realistic scenes were replaced by artists with the "skeptical" style. This style is defined by semi-surreal scenes with otherwise identifiable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art; common subjects also included easily identifiable historical figures in surreal and {{wp|anachronistic}} scenes. The Urcean skeptical style, which flourished between the [[First Great War]] and [[Second Great War]] was viewed by contemporaries as sophisticated and esoteric, while it was popularly and critically scorned as elitist and complex for its own sake. Due to the period in which it became popular, many of the famous skeptical works are veiled critiques at life in Urcea during the [[History of Urcea (1902-1955)|Restoration period]], focusing on social ills and the changes coming to the country as a result of a century of modernization. | ||
===Neo-Romanticism=== | ===Neo-Romanticism=== | ||
Following Urcea's participation and victory in the [[Second Great War]], Romanticism reemerged as a popular art style, with both critical and popular demand for styles of art depicting the natural greatness of [[Urcea]]. Unlike the natural, historical, or Biblical themes common among the Romantics, Neo-Romanticism often emphasized patriotic themes and included more depictions of buildings and the nation's natural wonders, though appropriately patriotic historical events were included as well. This style's mass popularity occurred during the 1940s and early to mid 1950s. | Following Urcea's participation and victory in the [[Second Great War]], Romanticism reemerged as a popular art style, with both critical and popular demand for styles of art depicting the natural greatness of [[Urcea]]. Unlike the natural, historical, or Biblical themes common among the Romantics, Neo-Romanticism often emphasized patriotic themes and included more depictions of buildings and the nation's natural wonders, though appropriately patriotic historical events were included as well. This style's mass popularity occurred during the 1940s and early to mid 1950s. | ||
===Foundationalism=== | ===Foundationalism=== | ||
Foundationalism emerged in the late 1950s and 1960s as a form of art popular in {{wp|high culture|high cultural circles}} as a rejection of both the earlier uncertain skeptical style as well as the exaggerated Neo-Romantic style. Characterized by an insistence on straight lines and right angles, as well as concrete or "solid" subjects the foundationalist style emphasized the immutable characteristics of objects without any particular embellishment, depicting the world as a connected series of "objects whose nature simply is" (in the words of Martin Marze, Foundationalist artist) rather than as a Romantic landscape or chance encounter of individuals. The style is named for ''The Foundation'' (1959), which depicted the [[Mountain of the Blessed Sacrament]] as a large block from which the rest of Levantia, depicted in jagged manner in only right angles, hangs from, a commentary on the colonial underpinnings of the very Levantine identity based on the spread of settlers from the southwest during the [[Latin Heroic Age]]. Rising out of a reaction to Neo-Romanticism, the style frequently included critical interpretations of both history and contemporary Urcean society and social institutions such as the [[Catholic Church]], leading to frequent condemnations from the office of the [[Censor (Urcea)|Censor]]. The blocky shape and lack of vibrant colors has | Foundationalism emerged in the late 1950s and 1960s as a form of art popular in {{wp|high culture|high cultural circles}} as a rejection of both the earlier uncertain skeptical style as well as the exaggerated Neo-Romantic style. Characterized by an insistence on straight lines and right angles, as well as concrete or "solid" subjects the foundationalist style emphasized the immutable characteristics of objects without any particular embellishment, depicting the world as a connected series of "objects whose nature simply is" (in the words of Martin Marze, Foundationalist artist) rather than as a Romantic landscape or chance encounter of individuals. The style is named for ''The Foundation'' (1959), which depicted the [[Mountain of the Blessed Sacrament]] as a large block from which the rest of Levantia, depicted in jagged manner in only right angles, hangs from, a commentary on the colonial underpinnings of the very Levantine identity based on the spread of settlers from the southwest during the [[Latin Heroic Age]]. Rising out of a reaction to Neo-Romanticism, the style frequently included critical interpretations of both history and contemporary Urcean society and social institutions such as the [[Catholic Church]], leading to frequent condemnations from the office of the [[Censor (Urcea)|Censor]]. The blocky shape and lack of vibrant colors has led to this style being referred to as "{{wp|Brutalism|brutalism}} in paint". | ||
===Factual surrealism=== | ===Factual surrealism=== | ||
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==Architecture== | ==Architecture== | ||
[[Urcea]] has a long history of distinct architectural styles and innovation within architecture. The first of the "great" Urcean architectural styles were established just after the end of the [[Great Confessional War]] at the height of the {{wp|Counter Reformation}}: the {{wp|Rococo}} style of architecture, best expressed perahaps in both [[Electorsbourg]] and [[The Hermitage (Cálfeld)|the Hermitage]]. The long period of Rococo ubiquity ended in the first decades of the 18th century, and its opulance was replaced by the more restrained {{wp|Palladianism|Palladian style}}. Developing from Palladianism is among the most popular and commonly used kind of architecture in Urcea, the so-called {{wp|Federal architecture|Caroline architecture}} and associated pseudo-Caroline and neo-Caroline designs, which used brick and significant symmetry in its design. This style emphasized a type of humility and virtue in foregoing particular arthictectural and material excess in favor of sacrifice for both God and the nation, as was typical of the national awakening undergone in [[Urcea]] in the 18th and 19th centuries. Many great structures from this period are still extant alongside the Rococo masterpieces due to rapid growth during the early industrial revolution in the mid-18th century. An offshoot of Neoclassical architecture, Caroline architecture typically uses plain surfaces with attenuated detail, usually isolated in panels, tablets, and friezes. It also had a flatter, smoother façade and rarely used pilasters. It was most influenced by the interpretation of the ancient architecture of [[Great Levantia]], which was growing in popularity in the mid-18th century due to increasing interest in archaeology. Many of Urcea's great architecutral achievements were inspired by or are those of [[Great Levantia]], such as the construction of arches, domes and similar structures. The subdued Caroline style was replaced during the [[Aedanicad]] with {{wp|Gothic Revival}} as well as a renewal of Rococo architecture, which was intended to show the new grandeur and strength of the nation by calling back to earlier architectural glories. | {{wip}} | ||
[[Urcea]] has a long history of distinct architectural styles and innovation within architecture. The first of the "great" Urcean architectural styles were established just after the end of the [[Great Confessional War]] at the height of the {{wp|Counter Reformation}}: the {{wp|Rococo}} style of architecture, best expressed perahaps in both [[Electorsbourg]] and [[The Hermitage (Cálfeld)|the Hermitage]]. The long period of Rococo ubiquity ended in the first decades of the 18th century, and its opulance was replaced by the more restrained {{wp|Palladianism|Palladian style}}, pioneered by the Lesser Carriagehouse, a lodging on the grounds of [[Electorsbourg]] constructed in 1685. Developing from Palladianism is among the most popular and commonly used kind of architecture in Urcea, the so-called {{wp|Federal architecture|Caroline architecture}} and associated pseudo-Caroline and neo-Caroline designs, which used brick and significant symmetry in its design. This style emphasized a type of humility and virtue in foregoing particular arthictectural and material excess in favor of sacrifice for both God and the nation, as was typical of the national awakening undergone in [[Urcea]] in the 18th and 19th centuries. Many great structures from this period are still extant alongside the Rococo masterpieces due to rapid growth during the early industrial revolution in the mid-18th century. An offshoot of Neoclassical architecture, Caroline architecture typically uses plain surfaces with attenuated detail, usually isolated in panels, tablets, and friezes. It also had a flatter, smoother façade and rarely used pilasters. It was most influenced by the interpretation of the ancient architecture of [[Great Levantia]], which was growing in popularity in the mid-18th century due to increasing interest in archaeology. Many of Urcea's great architecutral achievements were inspired by or are those of [[Great Levantia]], such as the construction of arches, domes and similar structures. The subdued Caroline style was replaced during the [[Aedanicad]] with {{wp|Gothic Revival}} and as well as a renewal of Rococo architecture, which was intended to show the new grandeur and strength of the nation by calling back to earlier architectural glories. While these styles were used during the Aedanicad for most administrative and ecclesiastical structures, the [[Concilium Daoni]] instead began to build in a {{wp|Neoclassical|neoclassical}} style, emphasizing the connection between that institution and the deliberative assemblies of Great Levantia; this connection can be best seen in the legislative chamber of the Daoni at the [[Julian Palace]]. | |||
<gallery mode="packed"> | <gallery mode="packed"> | ||
File:Campania Caserta2 tango7174.jpg|Rococo artchitecture in Urcea is perhaps best exemplified by [[Electorsbourg]]. | File:Campania Caserta2 tango7174.jpg|Rococo artchitecture in Urcea is perhaps best exemplified by [[Electorsbourg]]. | ||
File:Nave - San Giorgio Maggiore - Venice 2016 (2).jpg|Following the excesses of Rococo, more subtle Palladian styles became common in public and civic use, such as seen here in the interior of Cálfeld's Cathedral Basilica of St. Anne. | File:Nave - San Giorgio Maggiore - Venice 2016 (2).jpg|Following the excesses of Rococo, more subtle Palladian styles became common in public and civic use, such as seen here in the interior of Cálfeld's Cathedral Basilica of St. Anne. | ||
File:Queens House.jpg|Electorsbourg's Lesser Carriagehouse (1685) was extremely influential on the development of Palladian style. | |||
File:Hamilton Hall (Salem).jpg|Palladianism evolved into the even further restrained style of Caroline architecture, as exemplified by Melisbal Guild Hall, emphasizing virtue and humility. | File:Hamilton Hall (Salem).jpg|Palladianism evolved into the even further restrained style of Caroline architecture, as exemplified by Melisbal Guild Hall, emphasizing virtue and humility. | ||
File:Palace Justice(1).jpg|Urcea's newfound cultural and political heights | File:Palace Justice(1).jpg|Urcea's newfound cultural and political heights led to the adoption of Gothic Revival styles, as seen at [[The Praetorium (Urceopolis)|Urceopolis's Praetorium]] after its 1863 renovation, replaced the more subdued Caroline style. | ||
File:Austria reichsratssaal 2010.jpg|The triumphant {{wp|neoclassical}} style of the [[Concilium Daoni]] chamber, completed in [[1870]], presents that body's connection with earlier [[Great Levantia|Great Levantine]] deliberative bodies. | |||
</gallery> | </gallery> | ||
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Medieval Urcean literature - its first period of being truly distinct from ancient Levantine and neighboring Imperial literature - began in the 9th century with the rise of [[Lebhan language|Lebhan]] as a literary language. The earliest works were largely iterative, drawing from classical Latin, and included stories of the [[Latin Heroic Age]], though some new works emerged as many Lebhan language traditions and stories were written down for the first time. The focus on religious themes continued throughout the medieval period, with devotional literature such as ''{{wp|The Imitation of Christ}}'' (ca 1420s) being among the most notable works of the time. | Medieval Urcean literature - its first period of being truly distinct from ancient Levantine and neighboring Imperial literature - began in the 9th century with the rise of [[Lebhan language|Lebhan]] as a literary language. The earliest works were largely iterative, drawing from classical Latin, and included stories of the [[Latin Heroic Age]], though some new works emerged as many Lebhan language traditions and stories were written down for the first time. The focus on religious themes continued throughout the medieval period, with devotional literature such as ''{{wp|The Imitation of Christ}}'' (ca 1420s) being among the most notable works of the time. | ||
In the 14th and 15th centuries, Urcean literature saw the rise of new genres, including the chivalric romance and the advent of the first Urcean novels. These works often dealt with themes of love, courtly life, and the conflict between good and evil. | In the 14th and 15th centuries, Urcean literature saw the rise of new genres, including the chivalric romance and the advent of the first Urcean novels. These works often dealt with themes of love, courtly life, and the conflict between good and evil. In the late medieval period up through the beginning of [[The Anarchy]], various crises had a profound impact on Urcean literature. Many works of the time deal with themes of death, loss, and the consequences of the [[Saint's War]]. One of the most notable examples is "''The Wordweaver''" (1459) by Sean Bonacad, which tells the story of a group of people who flee the city to escape a siege and spend their time telling each other stories. | ||
In the late medieval period up through the beginning of [[The Anarchy]], various crises had a profound impact on Urcean literature. Many works of the time deal with themes of death, loss, and the consequences of the [[Saint's War]]. One of the most notable examples is "''The | |||
===Renaissance literature=== | ===Renaissance literature=== | ||
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====Frontier literature==== | ====Frontier literature==== | ||
During the 19th century, an influential genre known as "Frontier literature" developed out of the experience of [[Ómestaderoi]] novelists, depicting stories both from lived experience as well as the imagined historical experience of life on the [[Urcean frontier]]. The foreground of plots in this genre explored human nature when isolated from the comforts of well-built societies and explored both the depths to which man can go as well as the furthest extents of deprivation that man can survive. In the background of these plots, the genre in many cases followed an often-copied procedural style of storytelling following the trail of the ''Via Antonina'', whose route and locations were well known to most contemporary Urceans. While many stories include the typical hallmarks of the journey, some authors would imbue additional meaning to the various locations along the way, drawing parallels to the {{wp|Stations of the Cross}}. Some authors would subvert the route entirely, taking their characters to locations out of order or even in reverse as a way of imparting significance to certain events to the reader. | During the 19th century, an influential genre known as "Frontier literature" developed out of the experience of [[Ómestaderoi]] novelists, depicting stories both from lived experience as well as the imagined historical experience of life on the [[Urcean frontier]]. The foreground of plots in this genre explored human nature when isolated from the comforts of well-built societies and explored both the depths to which man can go as well as the furthest extents of deprivation that man can survive. In the background of these plots, the genre in many cases followed an often-copied procedural style of storytelling following the trail of the ''Via Antonina'', whose route and locations were well known to most contemporary Urceans. While many stories include the typical hallmarks of the journey, some authors would imbue additional meaning to the various locations along the way, drawing parallels to the {{wp|Stations of the Cross}}. Some authors would subvert the route entirely, taking their characters to locations out of order or even in reverse as a way of imparting significance to certain events to the reader. | ||
The 1878 novel "''Across the Plains''" by Tiberius Kincaid is considered the originating type of this novel, and it tells the story of a group of settlers making their way south along the ''Via Antonina'' during the early height of settlement. The novel explores the challenges they face on the journey, including conflicts with native populations and the harsh realities of life on the frontier. It would define many of the tropes and conventions used for the genre. A late entry to this genre that is well known is "''The Long Way Home''" (1905) by Cordelia Bede, which follows a woman on her journey along the ''Via Antonina'' after being displaced from her home during the [['97 Rising]]. Along the way, she faces various challenges and meets a diverse cast of characters who help her come to terms with the loss of her former life. | |||
====The Great Novel==== | ====The Great Novel==== | ||
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===Post-war literature=== | ===Post-war literature=== | ||
===Contemporary literature=== | ===Contemporary literature=== | ||
Beginning with the turn of the milennium, {{wp|nonlinear narrative}} became an extremely popular format within Urcean literary trends. The format was not necessarily developed in Urcea and was not a new concept, but it became trendy in academic writing circles and in short story collections. The form became extremely popular and well known to the public with the publication of the first of the ''[[Final Great War]]'' series by Mychal Geronato in [[2007]]. While his nonlinear narrative is the best known characteristic of his work, Geronato's books include several different characters serving as first-person narrators, all of whom are {{wp|unreliable narrator}} to some degree. Some scholars have coined the term "''Geronatic literature''" to refer to his particular style, which has become widely used by many different authors across all genres of Urcean fiction in the 21st century. Geronatic literature is intended to convey a series of events of a fictional world, but also asks the reader to parse through different points of view to determine their own conclusion of which version of the story is true. Literature scholars have noted Geronatic literature exercises "anti-canon", allowing readers and groups of readers to form their own collective opinion about the final conclusion of narrative events. | |||
===Regional & Vernacular literatures=== | ===Regional & Vernacular literatures=== | ||
====Caenish literature==== | ====Caenish literature==== | ||
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====Gassavelian literature==== | ====Gassavelian literature==== | ||
====Highlands literature==== | ====Highlands literature==== | ||
Literature styles native to and popular in the [[Ionian Plateau]] often originated as oral stories among the people living there. In Highlands literature, iterative versions of traditional stories are popular, with characters and similar plot beats appearing in a wide array of novels, often ending in different and unexpected ways. As is the case with many mythological or folk figures, "canonical" versions of these characters and stories rarely exist, even if they deal with real historical figures. Common themes in Highland literature deal with the region's fierce sense of independence and are primarily set in the past. A well-used trope within Highlands literature deals with a character coming from outside of the Plateau to dominate it, only to receive their comuppance from an unexpected place, usually children or women living on the Plateau. One common subject [[House de Weluta]], Urcea's ruling dynasty, and emphasize the Plateau's political loyalty to the House while ascribing to them mythical and often comically absurd origins. Many traditional stories explore the relationships and conflicts between the Ionians and other groups in Urcea. A less common variant of the genre, but especially prevalent during the late 19th century, feature themes related to the land and the natural environment. of the Plateau. | |||
==Theater== | ==Theater== | ||
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[[Category:IXWB]] | [[Category:IXWB]] | ||
[[Category: Culture of Urcea]] | [[Category: Culture of Urcea]] | ||
[[Category:Award winning pages]] | {{Template:Award winning article}} | ||
[[Category:2022 Award winning pages]] | |||