
<oai_dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/">
  <dc:rights>All rights reserved</dc:rights>
  <dc:date>2022</dc:date>
  <dc:title xml:lang="eng">Visions in the Air : Fluidity of Space and Materials in the Baroque Age</dc:title>
  <dc:format>application/pdf</dc:format>
  <dc:format>490313 bytes</dc:format>
  <dc:language>eng</dc:language>
  <dc:creator id="https://orcid.org/0000-0002-8299-2458">Todorović, Jelena</dc:creator>
  <dc:subject xml:lang="eng">Key words: Baroque, fluidity, illusion, reality, trompe l`oeil, anamorphosis, magic lantern</dc:subject>
  <dc:source>Зборник Народног музеја</dc:source>
  <dc:source>vol. 2</dc:source>
  <dc:source>br. 25</dc:source>
  <dc:source>str. 95-114</dc:source>
  <dc:description xml:lang="eng">Abstract: The virtual polyphony of the Baroque age characterized in particular the religious art of the period, but found a highly fitting expression in the form of the the-atre. The absolute power given to the image in order to lead the ideological and polit-ical reform of the Church very quickly acquired a much broader meaning, and moved into the sphere of the profane and political. It is the Baroque age that engendered the first moving image (credited to one of the greatest polymaths of the age – Athansius Kircher S. J.), and similar distortions of reality. Such fluid spaces forever existing on the threshold between reality and unreality were one of the main features of the literature of the age – from the satire of Grazian to the pure science fiction of Charles Typhaigne della Roche. </dc:description>
  <dc:type>info:eu-repo/semantics/article</dc:type>
  <dc:identifier>https://phaidrabg.bg.ac.rs/o:33524</dc:identifier>
  <dc:identifier>doi:10.18485/znms_iu.2022.25.2.5</dc:identifier>
  <dc:identifier>cobiss:83658505</dc:identifier>
  <dc:identifier>ISSN: 0352-2466</dc:identifier>
</oai_dc:dc>