Alexander Kaufman
- Published in print:
- 1999
- Published Online:
- November 2003
- ISBN:
- 9780198294672
- eISBN:
- 9780191599637
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198294670.003.0005
- Subject:
- Political Science, Political Theory
Kant's account of systematicity, in the Critique of Judgment, provides the basis for judgements regarding the moral salience of objects in experience, thus satisfying this necessary condition for the ...
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Kant's account of systematicity, in the Critique of Judgment, provides the basis for judgements regarding the moral salience of objects in experience, thus satisfying this necessary condition for the practical employment of teleological judgement. Kant's account of systematicity, however, grounds merely theoretical teleological interpretation of experience without necessarily grounding practical judgements. In order to provide a basis for practical judgements, teleological judgement must subordinate the teleological interpretation of experience to an account of the necessary commitments of a rational subject.Less
Kant's account of systematicity, in the Critique of Judgment, provides the basis for judgements regarding the moral salience of objects in experience, thus satisfying this necessary condition for the practical employment of teleological judgement. Kant's account of systematicity, however, grounds merely theoretical teleological interpretation of experience without necessarily grounding practical judgements. In order to provide a basis for practical judgements, teleological judgement must subordinate the teleological interpretation of experience to an account of the necessary commitments of a rational subject.
Isabel Rodà
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265062
- eISBN:
- 9780191754173
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265062.003.0009
- Subject:
- Classical Studies, European History: BCE to 500CE
Those with responsibilities for the display of inscriptions in museums and other public places have in recent years been addressing the challenge of how the riches of the ancient texts can be ...
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Those with responsibilities for the display of inscriptions in museums and other public places have in recent years been addressing the challenge of how the riches of the ancient texts can be conveyed to a public with little or no knowledge of Latin or Greek. The choice of texts should not ignore the casual messages of daily life from graffiti and painted slogans, nor should the later ‘forgeries’ of ancient texts or the innocent errors of stonecutters be excluded. Electronic media can bring to life both ancient images and texts, and can help in presenting difficult or incomplete texts. Inscriptions speak directly from the remote past, and meeting the challenge of transmitting their messages to the modern visitor will certainly repay the effort.Less
Those with responsibilities for the display of inscriptions in museums and other public places have in recent years been addressing the challenge of how the riches of the ancient texts can be conveyed to a public with little or no knowledge of Latin or Greek. The choice of texts should not ignore the casual messages of daily life from graffiti and painted slogans, nor should the later ‘forgeries’ of ancient texts or the innocent errors of stonecutters be excluded. Electronic media can bring to life both ancient images and texts, and can help in presenting difficult or incomplete texts. Inscriptions speak directly from the remote past, and meeting the challenge of transmitting their messages to the modern visitor will certainly repay the effort.
Alison Griffiths
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780231161060
- eISBN:
- 9780231541565
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231161060.001.0001
- Subject:
- Film, Television and Radio, Film
A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the ...
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A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposés of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film’s psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media’s sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public’s understanding of the modern prison.Less
A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposés of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film’s psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media’s sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public’s understanding of the modern prison.
Lu Xiao
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028122
- eISBN:
- 9789882206816
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028122.001.0001
- Subject:
- Society and Culture, Asian Studies
What forces continue to oppress and restrain women artists in contemporary China? Some powerful answers are provided in this fictional memoir of an author who played an important role in the ...
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What forces continue to oppress and restrain women artists in contemporary China? Some powerful answers are provided in this fictional memoir of an author who played an important role in the avant-garde cultural scene during the tumultuous early months of 1989. The acclaimed “China/Avant-Garde” exhibition organized by Gao Minglu at the National Art Museum in Beijing was shut down after about three hours from its opening on February 5th 1989, when the author shot live bullets into her mock-up of two telephone booths, turning an edgy installation work into an over-the-edge performance piece and an icon of the modern Chinese art movement. Many questions were left unanswered from where she got the gun to what she meant by all this. The man and the woman pictured in these two phone booths were specific people—she was one of them—the daughter of the director of a provincial art academy. Her father helped her get into the Central Academy in Beijing, where she was abused in various ways. In the 1989 exhibition, symbolically, she shot her nemesis, then went outside to a public telephone, called him, and told him what she had done. These events are naturally at the center of her memoir, but in describing the events and their aftermath, she offers candid views on the difficulties facing women in contemporary art circles and the way cultural power is exercised in China.Less
What forces continue to oppress and restrain women artists in contemporary China? Some powerful answers are provided in this fictional memoir of an author who played an important role in the avant-garde cultural scene during the tumultuous early months of 1989. The acclaimed “China/Avant-Garde” exhibition organized by Gao Minglu at the National Art Museum in Beijing was shut down after about three hours from its opening on February 5th 1989, when the author shot live bullets into her mock-up of two telephone booths, turning an edgy installation work into an over-the-edge performance piece and an icon of the modern Chinese art movement. Many questions were left unanswered from where she got the gun to what she meant by all this. The man and the woman pictured in these two phone booths were specific people—she was one of them—the daughter of the director of a provincial art academy. Her father helped her get into the Central Academy in Beijing, where she was abused in various ways. In the 1989 exhibition, symbolically, she shot her nemesis, then went outside to a public telephone, called him, and told him what she had done. These events are naturally at the center of her memoir, but in describing the events and their aftermath, she offers candid views on the difficulties facing women in contemporary art circles and the way cultural power is exercised in China.
Philipp Schorch and Conal McCarthy (eds)
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526118196
- eISBN:
- 9781526142016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526118196.001.0001
- Subject:
- Anthropology, Anthropology, Global
What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally ...
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What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia,’ whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges, and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media, and current issues such as curatorial leadership, collecting and collection access and use, exhibition development, and community engagement. The volume is international in scope and covers three broad regions—Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.Less
What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions, and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia,’ whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges, and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media, and current issues such as curatorial leadership, collecting and collection access and use, exhibition development, and community engagement. The volume is international in scope and covers three broad regions—Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.
Elizabeth Outka
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195372694
- eISBN:
- 9780199871704
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372694.003.0003
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter turns from the model communities discussed in the previous chapter to the individual country dwelling, analyzing a cluster of efforts to unite modern commercial ventures to the ...
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This chapter turns from the model communities discussed in the previous chapter to the individual country dwelling, analyzing a cluster of efforts to unite modern commercial ventures to the production of the “authentic” home. The chapter explores new developments in domestic architecture (most notably in the homes designed by the architect Edwin Lutyens), the launch of the Daily Mail’s Ideal Home Exhibition, and E. M. Forster’s contradictory approaches to authentic country dwellings in Howards End. Promoting the “neo-nostalgic home” became central to literary and commercial efforts to market and manipulate time. All these efforts-though in different arenas-imagined new ways that commercial ventures might sustain nostalgic visions within the individual dwelling, and considered together, they reveal how the idea of “home” was suddenly not a given or fixed quality but something that could be deliberately and carefully constructed.Less
This chapter turns from the model communities discussed in the previous chapter to the individual country dwelling, analyzing a cluster of efforts to unite modern commercial ventures to the production of the “authentic” home. The chapter explores new developments in domestic architecture (most notably in the homes designed by the architect Edwin Lutyens), the launch of the Daily Mail’s Ideal Home Exhibition, and E. M. Forster’s contradictory approaches to authentic country dwellings in Howards End. Promoting the “neo-nostalgic home” became central to literary and commercial efforts to market and manipulate time. All these efforts-though in different arenas-imagined new ways that commercial ventures might sustain nostalgic visions within the individual dwelling, and considered together, they reveal how the idea of “home” was suddenly not a given or fixed quality but something that could be deliberately and carefully constructed.
Geoffrey Cantor
- Published in print:
- 2005
- Published Online:
- February 2006
- ISBN:
- 9780199276684
- eISBN:
- 9780191603389
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199276684.003.0004
- Subject:
- Religion, History of Christianity
This chapter seeks to analyse the involvement of Jews and Quakers in a range of scientific institutions. One is the Royal Society of London, the membership of which was open to non-Anglicans since no ...
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This chapter seeks to analyse the involvement of Jews and Quakers in a range of scientific institutions. One is the Royal Society of London, the membership of which was open to non-Anglicans since no corporeal oath was required. The membership patterns of both Jews and Quakers displayed networks of business and of patronage, as illustrated by the career of Emanuel Mendes da Costa among others. Quakers flocked to the British Association for the Advancement of Science (BA), which they found ideologically appealing. Quaker social and political interests were also reflected in the Aborigines’ Protection Society and the Ethnological Society, where they adopted a monogenist stance that was opposed by other ethnologists. Jewish concerns with assimilation and improvement were manifested in the Jews’ and General Scientific and Literary Institution (1844-59). Both communities were greatly attracted by the Great Exhibition (1851), but in different ways: for the Anglo-Jewry, it raised the question of whether Jews were intellectually able; the Quakers saw it as a harbinger of world peace.Less
This chapter seeks to analyse the involvement of Jews and Quakers in a range of scientific institutions. One is the Royal Society of London, the membership of which was open to non-Anglicans since no corporeal oath was required. The membership patterns of both Jews and Quakers displayed networks of business and of patronage, as illustrated by the career of Emanuel Mendes da Costa among others. Quakers flocked to the British Association for the Advancement of Science (BA), which they found ideologically appealing. Quaker social and political interests were also reflected in the Aborigines’ Protection Society and the Ethnological Society, where they adopted a monogenist stance that was opposed by other ethnologists. Jewish concerns with assimilation and improvement were manifested in the Jews’ and General Scientific and Literary Institution (1844-59). Both communities were greatly attracted by the Great Exhibition (1851), but in different ways: for the Anglo-Jewry, it raised the question of whether Jews were intellectually able; the Quakers saw it as a harbinger of world peace.
Xiao Lu
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028122
- eISBN:
- 9789882206816
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028122.003.0001
- Subject:
- Society and Culture, Asian Studies
This introductory chapter discusses the objective of this fictional memoir, which is explain the issues surrounding the gunshots the author fired at the 1989 China Avant-garde Art Exhibition held at ...
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This introductory chapter discusses the objective of this fictional memoir, which is explain the issues surrounding the gunshots the author fired at the 1989 China Avant-garde Art Exhibition held at the National Art Museum of China in Beijing in February 1989. It relates the pain and sufferings the author experienced following the shooting incident and describes how she recovered from all her negative experiences in life. It also illustrates her healing process and the process of getting enough courage to clarify some of the mistaken belief about the 1989 shooting incident.Less
This introductory chapter discusses the objective of this fictional memoir, which is explain the issues surrounding the gunshots the author fired at the 1989 China Avant-garde Art Exhibition held at the National Art Museum of China in Beijing in February 1989. It relates the pain and sufferings the author experienced following the shooting incident and describes how she recovered from all her negative experiences in life. It also illustrates her healing process and the process of getting enough courage to clarify some of the mistaken belief about the 1989 shooting incident.
Peggy Levitt
- Published in print:
- 2015
- Published Online:
- January 2017
- ISBN:
- 9780520286061
- eISBN:
- 9780520961456
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520286061.001.0001
- Subject:
- Art, Visual Culture
What can we learn about nationalism by looking at a country’s cultural institutions? How do the history and culture of particular cities help explain how museums represent diversity? This book takes ...
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What can we learn about nationalism by looking at a country’s cultural institutions? How do the history and culture of particular cities help explain how museums represent diversity? This book takes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. Based on first-hand conversations with museum directors, curators, and policymakers; descriptions of current and future exhibitions; and inside stories about the famous paintings and iconic objects that define collections across the globe, this work provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism. By comparing museums in Europe, the United States, Asia, and the Middle East, the author offers a fresh perspective on the role of the museum in shaping citizens. Taken together, these accounts tell the fascinating story of a sea change underway in the museum world at large.Less
What can we learn about nationalism by looking at a country’s cultural institutions? How do the history and culture of particular cities help explain how museums represent diversity? This book takes us around the world to tell the compelling story of how museums today are making sense of immigration and globalization. Based on first-hand conversations with museum directors, curators, and policymakers; descriptions of current and future exhibitions; and inside stories about the famous paintings and iconic objects that define collections across the globe, this work provides a close-up view of how different kinds of institutions balance nationalism and cosmopolitanism. By comparing museums in Europe, the United States, Asia, and the Middle East, the author offers a fresh perspective on the role of the museum in shaping citizens. Taken together, these accounts tell the fascinating story of a sea change underway in the museum world at large.
Michael David-Fox
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199794577
- eISBN:
- 9780199932245
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199794577.003.0006
- Subject:
- History, European Modern History
This chapter shows how the intense pressures of the First Five-Year Plan (also known as the Great Break or Stalin's revolution from above) profoundly affected the agendas and approaches of Soviet ...
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This chapter shows how the intense pressures of the First Five-Year Plan (also known as the Great Break or Stalin's revolution from above) profoundly affected the agendas and approaches of Soviet cultural diplomacy. The creation of Intourist, the Soviet foreign tourist agency, represented a new emphasis on promoting state interests through the acquisition of hard currency from foreign visits. In other areas, such as Soviet literature and exhibitions directed at foreign audiences, a new campaign mode emphasizing shrill propaganda and short-term political goals came to the fore. The chapter examines the influx of Western technical specialists, engineers, and workers after the onset of the Great Depression. It also highlights the limitations and misconceptions of Soviet internal analyses of the press and cultural life in Western countries during an era when access to foreign publications and information about international developments was strictly restricted.Less
This chapter shows how the intense pressures of the First Five-Year Plan (also known as the Great Break or Stalin's revolution from above) profoundly affected the agendas and approaches of Soviet cultural diplomacy. The creation of Intourist, the Soviet foreign tourist agency, represented a new emphasis on promoting state interests through the acquisition of hard currency from foreign visits. In other areas, such as Soviet literature and exhibitions directed at foreign audiences, a new campaign mode emphasizing shrill propaganda and short-term political goals came to the fore. The chapter examines the influx of Western technical specialists, engineers, and workers after the onset of the Great Depression. It also highlights the limitations and misconceptions of Soviet internal analyses of the press and cultural life in Western countries during an era when access to foreign publications and information about international developments was strictly restricted.
Liam Gillick
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780231170208
- eISBN:
- 9780231540964
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231170208.003.0009
- Subject:
- Art, Art Theory and Criticism
The ethical demands of the new curator push ahead of contemporary art.
The ethical demands of the new curator push ahead of contemporary art.
Geoffrey Cantor
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199596676
- eISBN:
- 9780191725685
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199596676.001.0001
- Subject:
- Religion, Church History, Religion and Society
New research challenges the standard portrayal of the Great Exhibition as a manifestly secular event confined to celebrating the success of science, technology, and manufacturing. This innovative ...
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New research challenges the standard portrayal of the Great Exhibition as a manifestly secular event confined to celebrating the success of science, technology, and manufacturing. This innovative reappraisal demonstrates that the Exhibition was widely understood by contemporaries to possess a religious dimension and generated controversy among religious groups. To popular acclaim Prince Albert bestowed legitimacy on the Exhibition by proclaiming it to be a display of divine providence. Others, however, interpreted the Exhibition as a sign of the coming Apocalypse. With anti-Catholic feeling running high following the recent ‘papal aggression’, many Protestants roundly condemned those exhibits associated with Catholicism and some even denounced the Exhibition as a Papist plot. Catholics, for their part, criticized the Exhibition as a further example of religious repression, as did many secularists. Jews generally welcomed the Exhibition, as did Unitarians, Quakers, Congregationalists, and a wide spectrum of Anglicans—but all for different reasons. This diversity of perception is explored through such sources as contemporary sermons and, most importantly, the highly differentiated religious press. Several religious organizations energetically rose to the occasion, including the Religious Tract Society and the British and Foreign Bible Society, both of which mounted displays inside the Crystal Palace. Such evangelicals considered the Exhibition to be a divinely ordained opportunity to make converts, especially among ‘heathens’ and foreigners. To accomplish this task they initiated a range of dedicated activities including the distribution of countless tracts, printing Bibles in several languages, and holding special services. Taken all together these religious responses to the Exhibition shed fresh light on a crucial mid‐century event.Less
New research challenges the standard portrayal of the Great Exhibition as a manifestly secular event confined to celebrating the success of science, technology, and manufacturing. This innovative reappraisal demonstrates that the Exhibition was widely understood by contemporaries to possess a religious dimension and generated controversy among religious groups. To popular acclaim Prince Albert bestowed legitimacy on the Exhibition by proclaiming it to be a display of divine providence. Others, however, interpreted the Exhibition as a sign of the coming Apocalypse. With anti-Catholic feeling running high following the recent ‘papal aggression’, many Protestants roundly condemned those exhibits associated with Catholicism and some even denounced the Exhibition as a Papist plot. Catholics, for their part, criticized the Exhibition as a further example of religious repression, as did many secularists. Jews generally welcomed the Exhibition, as did Unitarians, Quakers, Congregationalists, and a wide spectrum of Anglicans—but all for different reasons. This diversity of perception is explored through such sources as contemporary sermons and, most importantly, the highly differentiated religious press. Several religious organizations energetically rose to the occasion, including the Religious Tract Society and the British and Foreign Bible Society, both of which mounted displays inside the Crystal Palace. Such evangelicals considered the Exhibition to be a divinely ordained opportunity to make converts, especially among ‘heathens’ and foreigners. To accomplish this task they initiated a range of dedicated activities including the distribution of countless tracts, printing Bibles in several languages, and holding special services. Taken all together these religious responses to the Exhibition shed fresh light on a crucial mid‐century event.
Rupert Richard Arrowsmith
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199593699
- eISBN:
- 9780191595684
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199593699.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
This chapter examines the wave of interest in Japanese visual culture that spread out from Ezra Pound profoundly to affect the work of the other literary figures associated with Imagism, and ...
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This chapter examines the wave of interest in Japanese visual culture that spread out from Ezra Pound profoundly to affect the work of the other literary figures associated with Imagism, and considers the circumstances under which Pound's attention turned away towards China. New evidence is presented to show that Richard Aldington began writing Japan-influenced poetry in the British Museum Print Room at the same time as Pound's visits, while John Gould Fletcher and Amy Lowell looked at similar exhibits at the Victoria and Albert Museum. The cultural effects of the 1910 Japan–British exhibition in London —attended by eight million people —are also considered. Pound's interest in China is shown to have developed during 1913 —not 1910 as has been alleged by certain other critics —as a result of two important exhibitions at the Whitechapel Gallery and the V&A.Less
This chapter examines the wave of interest in Japanese visual culture that spread out from Ezra Pound profoundly to affect the work of the other literary figures associated with Imagism, and considers the circumstances under which Pound's attention turned away towards China. New evidence is presented to show that Richard Aldington began writing Japan-influenced poetry in the British Museum Print Room at the same time as Pound's visits, while John Gould Fletcher and Amy Lowell looked at similar exhibits at the Victoria and Albert Museum. The cultural effects of the 1910 Japan–British exhibition in London —attended by eight million people —are also considered. Pound's interest in China is shown to have developed during 1913 —not 1910 as has been alleged by certain other critics —as a result of two important exhibitions at the Whitechapel Gallery and the V&A.
Élisabeth Anstett and Jean-Marc Dreyfus (eds)
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781526107381
- eISBN:
- 9781526120694
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526107381.001.0001
- Subject:
- Anthropology, Social and Cultural Anthropology
This book addresses the practices, treatment and commemoration of victims’ remains in post-genocide and mass violence contexts. Whether reburied, concealed, stored, abandoned or publically displayed, ...
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This book addresses the practices, treatment and commemoration of victims’ remains in post-genocide and mass violence contexts. Whether reburied, concealed, stored, abandoned or publically displayed, human remains raise a vast number of questions regarding their legal, ethical and social uses.
Human Remains in Society will raise these issues by examining when, how and why bodies are hidden or exhibited. Using case studies from multiple continents, each chapter will interrogate their effect on human remains, either desired or unintended, on various political, cultural or religious practices. How, for instance, do issues of confiscation, concealment or the destruction of bodies and body parts in mass crime impact on transitional processes, commemoration or judicial procedures?Less
This book addresses the practices, treatment and commemoration of victims’ remains in post-genocide and mass violence contexts. Whether reburied, concealed, stored, abandoned or publically displayed, human remains raise a vast number of questions regarding their legal, ethical and social uses.
Human Remains in Society will raise these issues by examining when, how and why bodies are hidden or exhibited. Using case studies from multiple continents, each chapter will interrogate their effect on human remains, either desired or unintended, on various political, cultural or religious practices. How, for instance, do issues of confiscation, concealment or the destruction of bodies and body parts in mass crime impact on transitional processes, commemoration or judicial procedures?
Miki Pfeffer
- Published in print:
- 2014
- Published Online:
- May 2017
- ISBN:
- 9781628461343
- eISBN:
- 9781626740730
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461343.001.0001
- Subject:
- History, American History: 19th Century
Women from all over the United States came to New Orleans in 1884 for the Woman's Department of the Cotton Centennial Exposition, that portion of the World's Fair exhibition devoted to the ...
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Women from all over the United States came to New Orleans in 1884 for the Woman's Department of the Cotton Centennial Exposition, that portion of the World's Fair exhibition devoted to the celebration of women's affairs and industry. Their conversations and interactions played out as a drama of personalities and sectionalism at a transitional moment in the history of the nation. These women planted seeds at the Exposition that would have otherwise taken decades to drift southward. This book chronicles the successes and setbacks of a lively cast of postbellum women in the first Woman's Department at a world's fair in the Deep South. From a wide range of primary documents, the book re-creates the sounds and sights of 1884 New Orleans after the Civil War and Reconstruction. It focuses on how difficult unity was to achieve, even when diverse women professed a common goal. Such celebrities as Julia Ward Howe and Susan B. Anthony brought national debates on women's issues to the South for the first time, and journalists and ordinary women reacted. At the World's Industrial and Cotton Centennial Exposition, the Woman's Department became a petri dish where cultures clashed but where women from across the country exchanged views on propriety, jobs, education, and suffrage. The text memorializes women's exhibits of handwork, literary and scientific endeavors, inventions, and professions, but it proposes that the real impact of the six-month long event was a shift in women's self-conceptions of their public and political lives. For those New Orleans ladies who were ready to seize the opportunity of this uncommon forum, the Woman's Department offered a future that they had barely imagined.Less
Women from all over the United States came to New Orleans in 1884 for the Woman's Department of the Cotton Centennial Exposition, that portion of the World's Fair exhibition devoted to the celebration of women's affairs and industry. Their conversations and interactions played out as a drama of personalities and sectionalism at a transitional moment in the history of the nation. These women planted seeds at the Exposition that would have otherwise taken decades to drift southward. This book chronicles the successes and setbacks of a lively cast of postbellum women in the first Woman's Department at a world's fair in the Deep South. From a wide range of primary documents, the book re-creates the sounds and sights of 1884 New Orleans after the Civil War and Reconstruction. It focuses on how difficult unity was to achieve, even when diverse women professed a common goal. Such celebrities as Julia Ward Howe and Susan B. Anthony brought national debates on women's issues to the South for the first time, and journalists and ordinary women reacted. At the World's Industrial and Cotton Centennial Exposition, the Woman's Department became a petri dish where cultures clashed but where women from across the country exchanged views on propriety, jobs, education, and suffrage. The text memorializes women's exhibits of handwork, literary and scientific endeavors, inventions, and professions, but it proposes that the real impact of the six-month long event was a shift in women's self-conceptions of their public and political lives. For those New Orleans ladies who were ready to seize the opportunity of this uncommon forum, the Woman's Department offered a future that they had barely imagined.
Jo Briggs
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719089640
- eISBN:
- 9781526109590
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719089640.001.0001
- Subject:
- Art, Art History
First performed on 21 May 1850, the satirical play Novelty Fair; or Hints for 1851 opened at almost exactly the middle of the 19th century. Its plot juxtaposes 1848, Chartism and republicanism, with ...
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First performed on 21 May 1850, the satirical play Novelty Fair; or Hints for 1851 opened at almost exactly the middle of the 19th century. Its plot juxtaposes 1848, Chartism and republicanism, with 1851 and the coming Great Exhibition. Using Novelty Fair as inspiration, this book brings together Victorian people, things and places typically understood to be unrelated. By juxtaposing urban fairs and the Great Exhibition, daguerreotypes and ballads, satirical shilling books and government backed design reform, blackface performers and middle-class paterfamilias, a strikingly different picture of mid 19th-century culture emerges. Rather than a clean break between revolution and exhibition, class-consciousness and consumerism, popular and didactic, risqué and respectable, an examination of a wide range of sources reveals these themes to be interdependent and mutually defined. As a result, the years of Chartism and the Great Exhibition are shown to be far more contested than previously recognized, with bourgeois forms and strategies under stress in a period that has often been seen as a triumphant one for that class.Less
First performed on 21 May 1850, the satirical play Novelty Fair; or Hints for 1851 opened at almost exactly the middle of the 19th century. Its plot juxtaposes 1848, Chartism and republicanism, with 1851 and the coming Great Exhibition. Using Novelty Fair as inspiration, this book brings together Victorian people, things and places typically understood to be unrelated. By juxtaposing urban fairs and the Great Exhibition, daguerreotypes and ballads, satirical shilling books and government backed design reform, blackface performers and middle-class paterfamilias, a strikingly different picture of mid 19th-century culture emerges. Rather than a clean break between revolution and exhibition, class-consciousness and consumerism, popular and didactic, risqué and respectable, an examination of a wide range of sources reveals these themes to be interdependent and mutually defined. As a result, the years of Chartism and the Great Exhibition are shown to be far more contested than previously recognized, with bourgeois forms and strategies under stress in a period that has often been seen as a triumphant one for that class.
Uri McMillan
- Published in print:
- 2012
- Published Online:
- May 2016
- ISBN:
- 9781479802111
- eISBN:
- 9781479865451
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479802111.003.0002
- Subject:
- Society and Culture, Cultural Studies
This chapter continues reinterpreting otherwise banal nineteenth-century behaviors and fierce acts of bravery as forms of black performance art in by shifting to an examination of fugitive slave ...
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This chapter continues reinterpreting otherwise banal nineteenth-century behaviors and fierce acts of bravery as forms of black performance art in by shifting to an examination of fugitive slave Ellen Craft’s passing performances; her radical actions succeeded in eventually freeing Craft and her husband William from chattel slavery in rural Georgia, and eventually transforming them into veteran performers in the United States and British Isles. The chapter lays bare the sundry sartorial and synthetic props of Craft’s handicapped white male avatar, “Mr. William Johnson.” It aims to reveal how Craft’s aforementioned prosthetic performances—fusing clothing-based items to faux acts of disability—succeeded in eliciting sympathy (and prompting action) from unbeknownst white spectators. This chapter also briefly turns to Craft’s cousins, Frank and Mary, to emphasize their shared use of performance-based methods in their equally perilous collaborative escape. The chapter, then, travels across the Atlantic Ocean as it moves from Craft’s improvised escape acts to her otherwise banal peregrinations at the Great Exhibition in London in 1851 and her staging of her white mulatta body as a disruptive agent. Finally, the chapter ends with a discussion of the engraving of Craft in her partial escape costume that appeared in the London Illustrated News the same year (and later as the frontispiece to Running a Thousand Miles to Freedom), urging a reading of this engraving as a unique depiction, neither of her nor of her white male avatar, but rather both simultaneously.Less
This chapter continues reinterpreting otherwise banal nineteenth-century behaviors and fierce acts of bravery as forms of black performance art in by shifting to an examination of fugitive slave Ellen Craft’s passing performances; her radical actions succeeded in eventually freeing Craft and her husband William from chattel slavery in rural Georgia, and eventually transforming them into veteran performers in the United States and British Isles. The chapter lays bare the sundry sartorial and synthetic props of Craft’s handicapped white male avatar, “Mr. William Johnson.” It aims to reveal how Craft’s aforementioned prosthetic performances—fusing clothing-based items to faux acts of disability—succeeded in eliciting sympathy (and prompting action) from unbeknownst white spectators. This chapter also briefly turns to Craft’s cousins, Frank and Mary, to emphasize their shared use of performance-based methods in their equally perilous collaborative escape. The chapter, then, travels across the Atlantic Ocean as it moves from Craft’s improvised escape acts to her otherwise banal peregrinations at the Great Exhibition in London in 1851 and her staging of her white mulatta body as a disruptive agent. Finally, the chapter ends with a discussion of the engraving of Craft in her partial escape costume that appeared in the London Illustrated News the same year (and later as the frontispiece to Running a Thousand Miles to Freedom), urging a reading of this engraving as a unique depiction, neither of her nor of her white male avatar, but rather both simultaneously.
Martin Ceadel
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780199241170
- eISBN:
- 9780191696893
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199241170.003.0003
- Subject:
- Political Science, International Relations and Politics
In the history of the peace movement, the Great Exhibition and London Peace Congress are remembered as the peace movement's most confident moments but it was thrown onto the defensive as the French ...
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In the history of the peace movement, the Great Exhibition and London Peace Congress are remembered as the peace movement's most confident moments but it was thrown onto the defensive as the French invasion sowed fear leading to the passage of a Militia Act in 1852. The Eastern Question was revived and pressured an anti-Russian crusade resulting in Britain's decision to declare war in March 1854. Other challenges faced by the movement were Palmerston's victory in the 1857 general election and the American Civil War from 1861 to 1865. In a decade and a half, the peace movement proved that it was not a temporary product of unusual circumstances. Instead it gained new integrity by surviving and enjoyed modest rewards such as the Protocol 23 of the Treaty of Paris, the growing disillusionment with the Crimean War, and avoiding British government intervention.Less
In the history of the peace movement, the Great Exhibition and London Peace Congress are remembered as the peace movement's most confident moments but it was thrown onto the defensive as the French invasion sowed fear leading to the passage of a Militia Act in 1852. The Eastern Question was revived and pressured an anti-Russian crusade resulting in Britain's decision to declare war in March 1854. Other challenges faced by the movement were Palmerston's victory in the 1857 general election and the American Civil War from 1861 to 1865. In a decade and a half, the peace movement proved that it was not a temporary product of unusual circumstances. Instead it gained new integrity by surviving and enjoyed modest rewards such as the Protocol 23 of the Treaty of Paris, the growing disillusionment with the Crimean War, and avoiding British government intervention.
Karen Mary Davalos
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781479877966
- eISBN:
- 9781479825165
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479877966.001.0001
- Subject:
- Society and Culture, Latin American Studies
Remixing and reexamining art of and after the Chicano movement of the 1960s and 1970s, this book brings to light new insights about artists, their cultural production, and the exhibitions that ...
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Remixing and reexamining art of and after the Chicano movement of the 1960s and 1970s, this book brings to light new insights about artists, their cultural production, and the exhibitions that feature their work, but also collectors, curators, critics, and advocates. Using an interdisciplinary method that combines decolonial and feminist theory, art historical analysis, and extensive archival and field research, Karen Mary Davalos explores how narrow notions of identity, politics, and aesthetics have limited debates over Chicana/o art. This comprehensive art history employs vernacular concepts, such as the errata exhibition and the remix, which emerge out of art practice itself, to drive the analysis of over three dozen artists. It rejects familiar narratives that evaluate Chicana/o art in binary terms: political versus commercial, realist versus conceptual, and so on. Each chapter explores undocumented or previously ignored information, such as European aesthetic influences on Chicana/o art or commercial ventures of community-based arts organizations, which are made invisible by conventions of art history or Chicana/o studies. The book illuminates the transnational, borderlands, feminist, and decolonial aesthetic processes and social conditions that expand, not contract, how we consider Chicana/o art. Davalos presents her most ambitious project to date in this examination of fifty years of Chicana/o art production in a major metropolitan area.Less
Remixing and reexamining art of and after the Chicano movement of the 1960s and 1970s, this book brings to light new insights about artists, their cultural production, and the exhibitions that feature their work, but also collectors, curators, critics, and advocates. Using an interdisciplinary method that combines decolonial and feminist theory, art historical analysis, and extensive archival and field research, Karen Mary Davalos explores how narrow notions of identity, politics, and aesthetics have limited debates over Chicana/o art. This comprehensive art history employs vernacular concepts, such as the errata exhibition and the remix, which emerge out of art practice itself, to drive the analysis of over three dozen artists. It rejects familiar narratives that evaluate Chicana/o art in binary terms: political versus commercial, realist versus conceptual, and so on. Each chapter explores undocumented or previously ignored information, such as European aesthetic influences on Chicana/o art or commercial ventures of community-based arts organizations, which are made invisible by conventions of art history or Chicana/o studies. The book illuminates the transnational, borderlands, feminist, and decolonial aesthetic processes and social conditions that expand, not contract, how we consider Chicana/o art. Davalos presents her most ambitious project to date in this examination of fifty years of Chicana/o art production in a major metropolitan area.
Heather Glen
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199272556
- eISBN:
- 9780191699627
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199272556.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This study of Charlotte Brontë's novels draws on original research in a range of early Victorian writings, on subjects ranging from women's day-dreaming to sanitary reform, from the Great Exhibition ...
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This study of Charlotte Brontë's novels draws on original research in a range of early Victorian writings, on subjects ranging from women's day-dreaming to sanitary reform, from the Great Exhibition to early Victorian religious thought. It is not, however, merely a study of context. Through a close consideration of the ways in which Brontë's novels engage with the thinking of their time, it offers a powerful argument for the ‘literary’ as a distinctive mode of intelligence, and reveals a Charlotte Brontë more alert to her historical moment and far more aesthetically sophisticated than she has usually been taken to be.Less
This study of Charlotte Brontë's novels draws on original research in a range of early Victorian writings, on subjects ranging from women's day-dreaming to sanitary reform, from the Great Exhibition to early Victorian religious thought. It is not, however, merely a study of context. Through a close consideration of the ways in which Brontë's novels engage with the thinking of their time, it offers a powerful argument for the ‘literary’ as a distinctive mode of intelligence, and reveals a Charlotte Brontë more alert to her historical moment and far more aesthetically sophisticated than she has usually been taken to be.
