Javier DeFelipe
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195392708
- eISBN:
- 9780199863525
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195392708.001.0001
- Subject:
- Neuroscience, History of Neuroscience, Molecular and Cellular Systems
This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research ...
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This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research in neuroscience. The main aim of this work is to demonstrate to the general public that the study of the nervous system is not only important for the many obvious reasons related to brain function in both health and disease, but also for the unexpected natural beauty that it beholds. This beauty has been discovered thanks to the techniques used to visualize the microscopic structure of the brain, a true forest of colorful and florid neural cells. As illustrated by his marvelous drawings, the studies of Santiago Ramón y Cajal (1852-1934) no doubt contributed more than those of any other researcher at the time to the growth of modern neuroscience. Thus, his name has been honored in the title of this book, even though the figures contained in the main body of it are from 91 different authors. Looking at the illustrations in this book, the readers will find that many of the early researchers that studied the nervous system were also true artists, of considerable talent and esthetic sensibility. Hence, the present book contains numerous drawings of some of the most important pioneers in neuroscience, including Deiters, Kolliker, Meynert, Ranvier, Golgi, Retzius, Nissl, Dogiel, Alzheimer, del Rio-Hortega, and de Castro.Less
This book contains a large collection of beautiful figures produced throughout the 19th and beginning of the 20th century, which represent some characteristic examples of the early days of research in neuroscience. The main aim of this work is to demonstrate to the general public that the study of the nervous system is not only important for the many obvious reasons related to brain function in both health and disease, but also for the unexpected natural beauty that it beholds. This beauty has been discovered thanks to the techniques used to visualize the microscopic structure of the brain, a true forest of colorful and florid neural cells. As illustrated by his marvelous drawings, the studies of Santiago Ramón y Cajal (1852-1934) no doubt contributed more than those of any other researcher at the time to the growth of modern neuroscience. Thus, his name has been honored in the title of this book, even though the figures contained in the main body of it are from 91 different authors. Looking at the illustrations in this book, the readers will find that many of the early researchers that studied the nervous system were also true artists, of considerable talent and esthetic sensibility. Hence, the present book contains numerous drawings of some of the most important pioneers in neuroscience, including Deiters, Kolliker, Meynert, Ranvier, Golgi, Retzius, Nissl, Dogiel, Alzheimer, del Rio-Hortega, and de Castro.
Katherine Clarke
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199291083
- eISBN:
- 9780191710582
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199291083.003.0007
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter stresses the significance of time not only to professional chronographers and historians, but also to the polis. Articulating and expressing time effectively and plausibly, particularly ...
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This chapter stresses the significance of time not only to professional chronographers and historians, but also to the polis. Articulating and expressing time effectively and plausibly, particularly in local history, mattered. The historian, the orator, or the artist used the same frameworks as the chronographers but to serve the polis; he linked the formal manipulation of time and the life of the city. Tragic and comic dramatists, orators, native and visiting historians, rhapsodes, exegetae, and statesmen all offered versions of the past for the polis to reject or to accept.Less
This chapter stresses the significance of time not only to professional chronographers and historians, but also to the polis. Articulating and expressing time effectively and plausibly, particularly in local history, mattered. The historian, the orator, or the artist used the same frameworks as the chronographers but to serve the polis; he linked the formal manipulation of time and the life of the city. Tragic and comic dramatists, orators, native and visiting historians, rhapsodes, exegetae, and statesmen all offered versions of the past for the polis to reject or to accept.
Jack Hayward
- Published in print:
- 2007
- Published Online:
- May 2007
- ISBN:
- 9780199216314
- eISBN:
- 9780191712265
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199216314.003.0005
- Subject:
- Political Science, European Union
The contrast between an urbanizing and industrializing society and an enduring peasant and artisan population is emphasized, while the business-political elite networks achieved maximum power by the ...
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The contrast between an urbanizing and industrializing society and an enduring peasant and artisan population is emphasized, while the business-political elite networks achieved maximum power by the late 19th century. The clerical-anti-clerical struggle for control of education results in the victory of secularism. Committed historians shaped the dominant political culture, although writers (Chateaubriand, Balzac, Stendhal, Lamartine, Baudelaire, Hugo) and artists (Delacroix, Daumier, Courbet) were influential.Less
The contrast between an urbanizing and industrializing society and an enduring peasant and artisan population is emphasized, while the business-political elite networks achieved maximum power by the late 19th century. The clerical-anti-clerical struggle for control of education results in the victory of secularism. Committed historians shaped the dominant political culture, although writers (Chateaubriand, Balzac, Stendhal, Lamartine, Baudelaire, Hugo) and artists (Delacroix, Daumier, Courbet) were influential.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.001.0001
- Subject:
- Sociology, Culture
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based ...
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At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.Less
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.
Ngũgĩ Wa Thiongʼo
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198183907
- eISBN:
- 9780191674136
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183907.003.0006
- Subject:
- Literature, World Literature, Film, Media, and Cultural Studies
This concluding chapter describes the artist's response to the power of the state and to the challenges of interpretation. Writers have no real choices other than to align themselves with the people ...
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This concluding chapter describes the artist's response to the power of the state and to the challenges of interpretation. Writers have no real choices other than to align themselves with the people and articulate their deepest yearnings and struggles for real change. Where the state silences, art should give voice to silence. Where, for instance, there is no democracy for the rest of the population, there cannot be democracy for the writer. Hence, it is obligatory for writers in Africa and the world over to keep on fighting with the rest of the population to strengthen civil society, expressed in the capacity for self-organization, against encroachments by the state.Less
This concluding chapter describes the artist's response to the power of the state and to the challenges of interpretation. Writers have no real choices other than to align themselves with the people and articulate their deepest yearnings and struggles for real change. Where the state silences, art should give voice to silence. Where, for instance, there is no democracy for the rest of the population, there cannot be democracy for the writer. Hence, it is obligatory for writers in Africa and the world over to keep on fighting with the rest of the population to strengthen civil society, expressed in the capacity for self-organization, against encroachments by the state.
Grant Hardy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199731701
- eISBN:
- 9780199777167
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199731701.003.0004
- Subject:
- Religion, Religion and Literature, World Religions
The majority of the Book of Mormon is narrated by Mormon, who is supposed to have lived at the end of Nephite history, in the fourth century AD. Whether one regards him as a historical figure or a ...
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The majority of the Book of Mormon is narrated by Mormon, who is supposed to have lived at the end of Nephite history, in the fourth century AD. Whether one regards him as a historical figure or a fictional construct, he structures his story in characteristic ways. Clues to his character can be found in his autobiographical chapters, two letters and a sermon reproduced verbatim, and especially in the hundred or so brief editorial comments he makes throughout the history he narrates. These passages show Mormon in three modes: 1) as a conscientious historian concerned with names, dates, and documentary sources; 2) as a literary artist who shapes the narrative with aesthetic parallels, significant phrasing, and focused selection; and 3) as a moral guide who explicitly points out the fulfillment of prophecies as well as spiritual lessons. The story of the destruction of the city of Ammonihah is analyzed as an example of what happens when these three agendas are at odds with each other.Less
The majority of the Book of Mormon is narrated by Mormon, who is supposed to have lived at the end of Nephite history, in the fourth century AD. Whether one regards him as a historical figure or a fictional construct, he structures his story in characteristic ways. Clues to his character can be found in his autobiographical chapters, two letters and a sermon reproduced verbatim, and especially in the hundred or so brief editorial comments he makes throughout the history he narrates. These passages show Mormon in three modes: 1) as a conscientious historian concerned with names, dates, and documentary sources; 2) as a literary artist who shapes the narrative with aesthetic parallels, significant phrasing, and focused selection; and 3) as a moral guide who explicitly points out the fulfillment of prophecies as well as spiritual lessons. The story of the destruction of the city of Ammonihah is analyzed as an example of what happens when these three agendas are at odds with each other.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0019
- Subject:
- Religion, Religion and Society
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to ...
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The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.Less
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0001
- Subject:
- Sociology, Culture
This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically ...
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This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically solidary corporate-era artist community. Nashville entrepreneurial musicians constitute themselves as a community by producing and performing for one another, showing up to each others' showcases, and extending mutual aid during trying moments in their lives. Here, the Nashville musician community has a tendency to “cross-promote,” and the chapter reveals how the community is largely very supportive of each other's art. In addition, the chapter also discusses the background of the present study and the approaches the author has taken in studying Nashville's artist community.Less
This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically solidary corporate-era artist community. Nashville entrepreneurial musicians constitute themselves as a community by producing and performing for one another, showing up to each others' showcases, and extending mutual aid during trying moments in their lives. Here, the Nashville musician community has a tendency to “cross-promote,” and the chapter reveals how the community is largely very supportive of each other's art. In addition, the chapter also discusses the background of the present study and the approaches the author has taken in studying Nashville's artist community.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0002
- Subject:
- Sociology, Culture
This chapter presents a new sociological theory of artist activism that addresses the question of how artist activists fashion their roles as artist activists. Specifically, the theory addresses how ...
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This chapter presents a new sociological theory of artist activism that addresses the question of how artist activists fashion their roles as artist activists. Specifically, the theory addresses how individual subjective orientations shape the repertoire of individual and collective actions and roles assumed and enacted by artist activists. The theory attributes individual variations in role assumption and enactment to artist orientations toward success, audience, risk, and career inspiration. This is a theory-building project of the new sociology of work. Research in the new sociology of work has addressed individual risk-management strategies for advancing individual careers and social mobility of free agents. In contrast, the sociological theory of artist activism presented here addresses how artist activists build a peer community for sustaining the livelihoods of individuals and the whole occupation.Less
This chapter presents a new sociological theory of artist activism that addresses the question of how artist activists fashion their roles as artist activists. Specifically, the theory addresses how individual subjective orientations shape the repertoire of individual and collective actions and roles assumed and enacted by artist activists. The theory attributes individual variations in role assumption and enactment to artist orientations toward success, audience, risk, and career inspiration. This is a theory-building project of the new sociology of work. Research in the new sociology of work has addressed individual risk-management strategies for advancing individual careers and social mobility of free agents. In contrast, the sociological theory of artist activism presented here addresses how artist activists build a peer community for sustaining the livelihoods of individuals and the whole occupation.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0003
- Subject:
- Sociology, Culture
This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music ...
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This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music musicians. As an artistrtist activist engaged primarily in individual action, the enterprising artist thrives on self-expression, continuous self-instruction in a widening skill portfolio of artistic and support functions, self-promotion, and on maintaining mutually beneficial relations with colleagues. Enterprising artists sustain their ongoing relations with colleagues, as the profiles in this chapter show, by maintaining trusting and equitable, collegial relations, relations that may succumb to interpersonal animosity, rivalry, jealousy, and betrayal. Sociologically, this chapter depicts the subjective orientations toward success, audience, and risk and the career pathways taken by four individual representatives of what is here referred to as the “transformative generation of enterprising artists” of the changing Nashville music scene.Less
This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music musicians. As an artistrtist activist engaged primarily in individual action, the enterprising artist thrives on self-expression, continuous self-instruction in a widening skill portfolio of artistic and support functions, self-promotion, and on maintaining mutually beneficial relations with colleagues. Enterprising artists sustain their ongoing relations with colleagues, as the profiles in this chapter show, by maintaining trusting and equitable, collegial relations, relations that may succumb to interpersonal animosity, rivalry, jealousy, and betrayal. Sociologically, this chapter depicts the subjective orientations toward success, audience, and risk and the career pathways taken by four individual representatives of what is here referred to as the “transformative generation of enterprising artists” of the changing Nashville music scene.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0004
- Subject:
- Sociology, Culture
This chapter examines the contemporary generation of enterprising artists in Nashville. Presently in their late teens, twenties, and thirties, this generation has been mentored to become enterprising ...
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This chapter examines the contemporary generation of enterprising artists in Nashville. Presently in their late teens, twenties, and thirties, this generation has been mentored to become enterprising artists by the earlier transformative generation discussed in the previous chapter. This new generation enters the musician community of enterprising artists that had been forged by the transformative generation. The contemporary generation harbors the same strategic and risk orientations as that of the transformative generation: a strategic orientation toward the pursuit of artistic freedom and a direct engagement with music consumers; and a personal risk orientation of “indie-DIY” self-determination and continuous self-instruction in a widening portfolio of artistic and support skills, as well as close attention to collegial interpersonal relations with immediate collaborators.Less
This chapter examines the contemporary generation of enterprising artists in Nashville. Presently in their late teens, twenties, and thirties, this generation has been mentored to become enterprising artists by the earlier transformative generation discussed in the previous chapter. This new generation enters the musician community of enterprising artists that had been forged by the transformative generation. The contemporary generation harbors the same strategic and risk orientations as that of the transformative generation: a strategic orientation toward the pursuit of artistic freedom and a direct engagement with music consumers; and a personal risk orientation of “indie-DIY” self-determination and continuous self-instruction in a widening portfolio of artistic and support skills, as well as close attention to collegial interpersonal relations with immediate collaborators.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0007
- Subject:
- Sociology, Culture
This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future ...
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This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future research. First is the generalizability of the Nashville model of artist activism across cities that differ in terms of their mix of art-production and -consumption activity and their levels and history of arts trade unionism. The second theme pertains to the influence of biographical pathways, risk orientations, and occupational socialization through intergenerational peer mentoring on the formation of the next generation of artist activists. The third theme is an assessment of the effectiveness of the several prevailing models of guild-like labor organizations for freelancers and artists on advancing individual and occupational professional and economic interests. The chapter concludes with policy implications for building and strengthening inclusive and expressive, urban occupational communities in an era of risk individualization and identity politics.Less
This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future research. First is the generalizability of the Nashville model of artist activism across cities that differ in terms of their mix of art-production and -consumption activity and their levels and history of arts trade unionism. The second theme pertains to the influence of biographical pathways, risk orientations, and occupational socialization through intergenerational peer mentoring on the formation of the next generation of artist activists. The third theme is an assessment of the effectiveness of the several prevailing models of guild-like labor organizations for freelancers and artists on advancing individual and occupational professional and economic interests. The chapter concludes with policy implications for building and strengthening inclusive and expressive, urban occupational communities in an era of risk individualization and identity politics.
Joseph Shatzmiller
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691156996
- eISBN:
- 9781400846092
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691156996.001.0001
- Subject:
- History, European Modern History
Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, this book combines a wide range of sources to show how Jews and Christians exchanged ...
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Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, this book combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. The book focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and it synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, the book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, the book sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.Less
Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, this book combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. The book focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and it synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, the book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, the book sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.
TRACY E. COOPER
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265055
- eISBN:
- 9780191754166
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265055.003.0004
- Subject:
- Music, History, Western
Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an ...
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Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom Leonardo da Vinci is one of the best-known examples. An association with courtliness was one of several markers of status conferred by musical practice. This chapter investigates the domestic setting of the artist, whether in a courtly environment or in a republic, to develop themes of the social elevation of the artist, entertainment and performance, as well as creativity.Less
Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom Leonardo da Vinci is one of the best-known examples. An association with courtliness was one of several markers of status conferred by musical practice. This chapter investigates the domestic setting of the artist, whether in a courtly environment or in a republic, to develop themes of the social elevation of the artist, entertainment and performance, as well as creativity.
Berys Gaut
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199263219
- eISBN:
- 9780191718854
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199263219.003.0005
- Subject:
- Philosophy, Aesthetics
This chapter discusses artists' ethical aims in their works and the influential role of ethical criticism in critical practice, even in the writings of the New Critics and of post-structuralist ...
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This chapter discusses artists' ethical aims in their works and the influential role of ethical criticism in critical practice, even in the writings of the New Critics and of post-structuralist thinkers, such as Foucault, who ostensibly reject ethical criticism. It shows that the use of the terms, ‘moralistic’ and ‘didactic’, as terms of critical censure are consistent with ethicism. Thus, artistic and critical practices subjected to a process of reflective testing give support to ethicism. But it is also shown that given the sheer diversity of critical practices and the strength of ethicism relative to contextualism, appeals to such practices cannot decisively establish ethicism.Less
This chapter discusses artists' ethical aims in their works and the influential role of ethical criticism in critical practice, even in the writings of the New Critics and of post-structuralist thinkers, such as Foucault, who ostensibly reject ethical criticism. It shows that the use of the terms, ‘moralistic’ and ‘didactic’, as terms of critical censure are consistent with ethicism. Thus, artistic and critical practices subjected to a process of reflective testing give support to ethicism. But it is also shown that given the sheer diversity of critical practices and the strength of ethicism relative to contextualism, appeals to such practices cannot decisively establish ethicism.
Kaira M. Cabañas
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226556284
- eISBN:
- 9780226556314
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226556314.001.0001
- Subject:
- Art, Art History
Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished ...
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Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this “outsider art” continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested? Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients’ work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.Less
Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this “outsider art” continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested? Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients’ work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.
Magdi Guirguis
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9789774161520
- eISBN:
- 9781617971013
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774161520.003.0008
- Subject:
- Society and Culture, Middle Eastern Studies
Trying to understand any particular trend out of a historical setting can easily lead to a distorted view of the matter. The same is true for the legacy of an artist like Yuhanna al-Armani. This ...
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Trying to understand any particular trend out of a historical setting can easily lead to a distorted view of the matter. The same is true for the legacy of an artist like Yuhanna al-Armani. This study has argued that Yuhanna's icons developed and flourished in the second half of the eighteenth century as a result of a combination of factors that coincided at that time. It has argued against the dominant view among many scholars that the artist had recently arrived in Egypt and had come with his cultural luggage, for the most part a set of exogenous cultural traditions that flourished in the new society he moved to. The traditions that Yuhanna introduced are assumed to have been more modern and more developed than those that could be found locally.Less
Trying to understand any particular trend out of a historical setting can easily lead to a distorted view of the matter. The same is true for the legacy of an artist like Yuhanna al-Armani. This study has argued that Yuhanna's icons developed and flourished in the second half of the eighteenth century as a result of a combination of factors that coincided at that time. It has argued against the dominant view among many scholars that the artist had recently arrived in Egypt and had come with his cultural luggage, for the most part a set of exogenous cultural traditions that flourished in the new society he moved to. The traditions that Yuhanna introduced are assumed to have been more modern and more developed than those that could be found locally.
Peter France and William St Clair (eds)
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197263181
- eISBN:
- 9780191734595
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263181.001.0001
- Subject:
- Literature, Criticism/Theory
Why biography? This collection of chapters on the problems and functions of biography, and particularly the biography of writers, thinkers, and artists, investigates a subject of enduring importance ...
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Why biography? This collection of chapters on the problems and functions of biography, and particularly the biography of writers, thinkers, and artists, investigates a subject of enduring importance for those interested in culture and society. In the last century, it has been a controversial subject, as old models of biographical writing were attacked and superseded, while critics and theorists questioned the once self-evident value of the biography of writers. Yet the genre continues to attract notable authors and is unfailingly popular with readers. The present volume, while containing chapters by practising biographers, is intended primarily as a stimulus to critical thinking. It focuses on the diverse functions assumed by life-writing in different European countries at different periods, challenging both the notion of a genre with constant characteristics and aims and the view of modern biography as the happy culmination of centuries of progress.Less
Why biography? This collection of chapters on the problems and functions of biography, and particularly the biography of writers, thinkers, and artists, investigates a subject of enduring importance for those interested in culture and society. In the last century, it has been a controversial subject, as old models of biographical writing were attacked and superseded, while critics and theorists questioned the once self-evident value of the biography of writers. Yet the genre continues to attract notable authors and is unfailingly popular with readers. The present volume, while containing chapters by practising biographers, is intended primarily as a stimulus to critical thinking. It focuses on the diverse functions assumed by life-writing in different European countries at different periods, challenging both the notion of a genre with constant characteristics and aims and the view of modern biography as the happy culmination of centuries of progress.
Ann Jefferson
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691160658
- eISBN:
- 9781400852598
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160658.003.0013
- Subject:
- Literature, Criticism/Theory
This chapter studies the figure of the genius artist in the painter Claude Lantier, the central figure of Émile Zola's novel, L'Œuvre (The masterpiece, 1886). Genius may be a largely positive term ...
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This chapter studies the figure of the genius artist in the painter Claude Lantier, the central figure of Émile Zola's novel, L'Œuvre (The masterpiece, 1886). Genius may be a largely positive term for Zola the art critic who regards disruption as a virtue, but for Zola the novelist these “disruptions” are an ambivalent quantity that allows him to explore it both positively as central to the artistic enterprise and negatively as a sterile or destructive pathology. Like Mme de Staël and Balzac, he does so both from an objective external and from a sympathetically internal perspective. As a painter, Lantier offers less scope for identification on the part of the author than did Corinne or Lambert, but both author and painter are bound together by the issue of artistic creativity that is the novel's central concern.Less
This chapter studies the figure of the genius artist in the painter Claude Lantier, the central figure of Émile Zola's novel, L'Œuvre (The masterpiece, 1886). Genius may be a largely positive term for Zola the art critic who regards disruption as a virtue, but for Zola the novelist these “disruptions” are an ambivalent quantity that allows him to explore it both positively as central to the artistic enterprise and negatively as a sterile or destructive pathology. Like Mme de Staël and Balzac, he does so both from an objective external and from a sympathetically internal perspective. As a painter, Lantier offers less scope for identification on the part of the author than did Corinne or Lambert, but both author and painter are bound together by the issue of artistic creativity that is the novel's central concern.
Javier Defelipe
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195392708
- eISBN:
- 9780199863525
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195392708.003.0006
- Subject:
- Neuroscience, History of Neuroscience, Molecular and Cellular Systems
This chapter provides some final thoughts on the Brainhow mouse. It uses a metaphor used by the Russian writer Vladimir Nabokov (1899–1977) as illustration. Nabokov was a grapheme-color synesthete. ...
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This chapter provides some final thoughts on the Brainhow mouse. It uses a metaphor used by the Russian writer Vladimir Nabokov (1899–1977) as illustration. Nabokov was a grapheme-color synesthete. The chapter considers that the similarities between scientific illustrations and some paintings created by artists pose the question of whether an artist unconsciously paints not only what his brain interprets, but to some extent, what his own brain contains. The inexhaustible artistic creativity of the human mind seems to have a parallel multicolored world within the microscopic universe of the brain.Less
This chapter provides some final thoughts on the Brainhow mouse. It uses a metaphor used by the Russian writer Vladimir Nabokov (1899–1977) as illustration. Nabokov was a grapheme-color synesthete. The chapter considers that the similarities between scientific illustrations and some paintings created by artists pose the question of whether an artist unconsciously paints not only what his brain interprets, but to some extent, what his own brain contains. The inexhaustible artistic creativity of the human mind seems to have a parallel multicolored world within the microscopic universe of the brain.
