Charles Musser
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520292727
- eISBN:
- 9780520966123
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520292727.001.0001
- Subject:
- Society and Culture, Media Studies
Politicking and Emergent Media looks at four presidential campaigns in the United States during the long 1890s (1888-1900) and the ways in which Republicans and Democrats mobilized a wide variety of ...
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Politicking and Emergent Media looks at four presidential campaigns in the United States during the long 1890s (1888-1900) and the ways in which Republicans and Democrats mobilized a wide variety of media forms in their efforts to achieve electoral victory. The 1890s was a pivotal era in which new means of audio and visual inscription were first deployed. Newspapers remained the dominant media, and Democrats had gained sufficient advantage in 1884 to put Grover Cleveland in the White House. In 1888 Republicans responded by strengthening their media arm with a variety of tactics, using the stereopticon, a modernized magic lantern, to deliver popular illustrated lectures on the protective tariff which helped Republican candidate Benjamin Harrison defeat Cleveland--though Harrison lost the rematch four years later. Efforts to regain a media advantage continued in 1896 as Republicans embraced motion pictures, the phonograph and telephone to further William McKinley’s campaign for president. When the traditionally Democratic press rejected “Free Silver” candidate William Jennings Bryan, McKinley’s victory was assured. As the United States became a world power in the aftermath of the Spanish-American War, audio-visual media promoted American Imperialism, the “paramount issue” of the 1900 election, as McKinley won a second term.Less
Politicking and Emergent Media looks at four presidential campaigns in the United States during the long 1890s (1888-1900) and the ways in which Republicans and Democrats mobilized a wide variety of media forms in their efforts to achieve electoral victory. The 1890s was a pivotal era in which new means of audio and visual inscription were first deployed. Newspapers remained the dominant media, and Democrats had gained sufficient advantage in 1884 to put Grover Cleveland in the White House. In 1888 Republicans responded by strengthening their media arm with a variety of tactics, using the stereopticon, a modernized magic lantern, to deliver popular illustrated lectures on the protective tariff which helped Republican candidate Benjamin Harrison defeat Cleveland--though Harrison lost the rematch four years later. Efforts to regain a media advantage continued in 1896 as Republicans embraced motion pictures, the phonograph and telephone to further William McKinley’s campaign for president. When the traditionally Democratic press rejected “Free Silver” candidate William Jennings Bryan, McKinley’s victory was assured. As the United States became a world power in the aftermath of the Spanish-American War, audio-visual media promoted American Imperialism, the “paramount issue” of the 1900 election, as McKinley won a second term.
Yasmin Annabel Haskell
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197262849
- eISBN:
- 9780191734588
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262849.003.0004
- Subject:
- Literature, 17th-century and Restoration Literature
In the eighteenth century, the publication of scientific books boomed following the switch to the vernacular. The decline of Latin and Greek, the availability of translations, and the adoption of ...
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In the eighteenth century, the publication of scientific books boomed following the switch to the vernacular. The decline of Latin and Greek, the availability of translations, and the adoption of novel ways of presenting scientific information increased the population of potential audiences during this period. This chapter explores some of the Jesuit Latin poems on scientific subjects before the transition to vernacular. It aims to determine the extent to which the Jesuits anticipated and participated in the vulgarizing mission of textbooks writers later in the century. In general, Jesuits were regarded as scientific educators owing to their contributions to the growing interest in science. During the eighteenth century, the trend was for the production of the facile side of science and illustrated books; however, French Jesuits did not adhere to the growing trend. Although they curbed their poetic powers on playful and topical objects like the secular science writers, their poems and works were devoid of instructive or diverting diagrams and pictures. They also capitalized on poems that were written in Latin at a time when the language rarely attracted noble and bourgeois readers, and in a genre that could be hardly described as novel.Less
In the eighteenth century, the publication of scientific books boomed following the switch to the vernacular. The decline of Latin and Greek, the availability of translations, and the adoption of novel ways of presenting scientific information increased the population of potential audiences during this period. This chapter explores some of the Jesuit Latin poems on scientific subjects before the transition to vernacular. It aims to determine the extent to which the Jesuits anticipated and participated in the vulgarizing mission of textbooks writers later in the century. In general, Jesuits were regarded as scientific educators owing to their contributions to the growing interest in science. During the eighteenth century, the trend was for the production of the facile side of science and illustrated books; however, French Jesuits did not adhere to the growing trend. Although they curbed their poetic powers on playful and topical objects like the secular science writers, their poems and works were devoid of instructive or diverting diagrams and pictures. They also capitalized on poems that were written in Latin at a time when the language rarely attracted noble and bourgeois readers, and in a genre that could be hardly described as novel.
Richard Higgins and Robert D. Richardson
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520294042
- eISBN:
- 9780520967311
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520294042.001.0001
- Subject:
- Literature, American, 19th Century Literature
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his ...
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Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.Less
Thoreau and the Language of Trees is the first in-depth study of Thoreau’s passionate engagement with trees and his writing about them. It explores his keen eye for trees as a naturalist, his creative response to them as a poet, his philosophical understanding of them, the joy they gave him and the spiritual bond he felt with them. It includes excerpts from Thoreau’s extraordinary writing about trees from 1837 to 1861, illustrated with Higgins’s photography. The excerpts show his detailed observations on trees, his sense of loss at the ravaging of the forest during his life and the delight he took in the splendor of Concord’s woods and meadows. They also show his response to individual trees: an iconic Concord elm, a stand of old-growth oaks he discovered, his beloved white pines, trees made new by snow and trees as ships at sea. Higgins shows that Thoreau probed the complex lives of trees in the forest as a scientist and, as a poet and spiritual seeker, saw them as miracles that encapsulate all that is good about nature.
Catherine J. Golden
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813062297
- eISBN:
- 9780813053189
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062297.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of ...
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The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.Less
The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.
Anna von der Goltz
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199570324
- eISBN:
- 9780191722240
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199570324.003.0006
- Subject:
- History, European Modern History
This chapter argues that the Hindenburg myth was as much a cultural as it was a political phenomenon, and did not just occupy those engaged in German politics, but penetrated much broader sections of ...
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This chapter argues that the Hindenburg myth was as much a cultural as it was a political phenomenon, and did not just occupy those engaged in German politics, but penetrated much broader sections of society in its myriad forms: a massive readership of Hindenburg books and special issues of the illustrated press existed, as did a receptive audience for Hindenburg films and his frequent speeches on the radio. Equally, consumers' purchase decisions were animated by the use of his iconic image in commercial advertising. The author shows that Hindenburg's omnipresence in these modern mass media broadened his appeal considerably and led his myth to escape the strict political dividing lines characteristic of Weimar Germany. This points to considerable common symbolic ground beyond political fault-lines. The chapter also highlights Hindenburg's considerable involvement in promoting, managing, and censoring his own myth from the top down.Less
This chapter argues that the Hindenburg myth was as much a cultural as it was a political phenomenon, and did not just occupy those engaged in German politics, but penetrated much broader sections of society in its myriad forms: a massive readership of Hindenburg books and special issues of the illustrated press existed, as did a receptive audience for Hindenburg films and his frequent speeches on the radio. Equally, consumers' purchase decisions were animated by the use of his iconic image in commercial advertising. The author shows that Hindenburg's omnipresence in these modern mass media broadened his appeal considerably and led his myth to escape the strict political dividing lines characteristic of Weimar Germany. This points to considerable common symbolic ground beyond political fault-lines. The chapter also highlights Hindenburg's considerable involvement in promoting, managing, and censoring his own myth from the top down.
Jason Jacobs
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742340
- eISBN:
- 9780191695018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742340.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this ...
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Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.Less
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.
Susan E. Kirtley
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032356
- eISBN:
- 9781617032363
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032356.001.0001
- Subject:
- Literature, Comics Studies
Best known for her long-running comic strip Ernie Pook’s Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry has ...
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Best known for her long-running comic strip Ernie Pook’s Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry has branched out to incorporate plays, paintings, radio commentary, and lectures. With a combination of simple, raw drawings and mature, eloquent text, Barry’s oeuvre blurs the boundaries between fiction and memoir, comics and literary fiction, and fantasy and reality. Her recent volumes What It Is and Picture This fuse autobiography, teaching guide, sketchbook, and cartooning into coherent visions. This book examines the artist’s career and contributions to the field of comic art and beyond. The study specifically concentrates on Barry’s recurring focus on figures of young girls, in a variety of mediums and genres. Barry follows the image of the girl through several lenses—from text-based novels to the hybrid blending of text and image in comic art, to art shows and coloring books. In tracing her aesthetic and intellectual development, the book reveals Barry’s work to be groundbreaking in its understanding of femininity and feminism.Less
Best known for her long-running comic strip Ernie Pook’s Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry has branched out to incorporate plays, paintings, radio commentary, and lectures. With a combination of simple, raw drawings and mature, eloquent text, Barry’s oeuvre blurs the boundaries between fiction and memoir, comics and literary fiction, and fantasy and reality. Her recent volumes What It Is and Picture This fuse autobiography, teaching guide, sketchbook, and cartooning into coherent visions. This book examines the artist’s career and contributions to the field of comic art and beyond. The study specifically concentrates on Barry’s recurring focus on figures of young girls, in a variety of mediums and genres. Barry follows the image of the girl through several lenses—from text-based novels to the hybrid blending of text and image in comic art, to art shows and coloring books. In tracing her aesthetic and intellectual development, the book reveals Barry’s work to be groundbreaking in its understanding of femininity and feminism.
Jonathan R. Eller
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036293
- eISBN:
- 9780252093357
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036293.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This book chronicles the making of an iconic American writer by exploring Ray Bradbury's childhood and early years of his long life in fiction, film, television, radio, and theater. It measures the ...
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This book chronicles the making of an iconic American writer by exploring Ray Bradbury's childhood and early years of his long life in fiction, film, television, radio, and theater. It measures the impact of the authors, artists, illustrators, and filmmakers who stimulated Ray Bradbury's imagination throughout his first three decades. This biography follows Bradbury's development from avid reader to maturing author, making a living writing for the genre pulps and mainstream magazines. Unprecedented access to Bradbury's personal papers and other private collections provides insight into his emerging talent through his unpublished correspondence, his rare but often insightful notes on writing, and his interactions with those who mentored him during those early years. They also provide insight into his very conscious decisions, following the sudden success of The Martian Chronicles and The Illustrated Man, to voice controversial political statements in his fiction. The book illuminates the sources of Bradbury's growing interest in the human mind, the human condition, and the ambiguities of life and death—themes that became increasingly apparent in his early fiction. It elucidates the complex creative motivations that yielded Fahrenheit 451. Revealing Bradbury's emotional world as it matured, the book highlights the emerging sense of authorship at the heart of his boundless creativity.Less
This book chronicles the making of an iconic American writer by exploring Ray Bradbury's childhood and early years of his long life in fiction, film, television, radio, and theater. It measures the impact of the authors, artists, illustrators, and filmmakers who stimulated Ray Bradbury's imagination throughout his first three decades. This biography follows Bradbury's development from avid reader to maturing author, making a living writing for the genre pulps and mainstream magazines. Unprecedented access to Bradbury's personal papers and other private collections provides insight into his emerging talent through his unpublished correspondence, his rare but often insightful notes on writing, and his interactions with those who mentored him during those early years. They also provide insight into his very conscious decisions, following the sudden success of The Martian Chronicles and The Illustrated Man, to voice controversial political statements in his fiction. The book illuminates the sources of Bradbury's growing interest in the human mind, the human condition, and the ambiguities of life and death—themes that became increasingly apparent in his early fiction. It elucidates the complex creative motivations that yielded Fahrenheit 451. Revealing Bradbury's emotional world as it matured, the book highlights the emerging sense of authorship at the heart of his boundless creativity.
Roberta Montemorra Marvin
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195365870
- eISBN:
- 9780199932054
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365870.003.0002
- Subject:
- Music, Opera, History, Western
Chapter 2 explores the visual culture of nineteenth-century British spectatorship by examining images of prima donnas that were published in one of the principal English newspapers, the Illustrated ...
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Chapter 2 explores the visual culture of nineteenth-century British spectatorship by examining images of prima donnas that were published in one of the principal English newspapers, the Illustrated London News. Dress, ornament, posture, and physiognomy were each subtle codes through which aspects of personality were communicated, and newspaper editors and illustrators were adept at manipulating these codes to specific ends. In some cases these can be seen working against what the readers’ prior impressions of a prima donna might have been, based on reports of her irregular private life and moral transgressions. This revealing case study offers insights into ideologies of gender that literally shaped the image and the public’s perception of Italian opera stars in the years before newspapers moved over from engravings to photography.Less
Chapter 2 explores the visual culture of nineteenth-century British spectatorship by examining images of prima donnas that were published in one of the principal English newspapers, the Illustrated London News. Dress, ornament, posture, and physiognomy were each subtle codes through which aspects of personality were communicated, and newspaper editors and illustrators were adept at manipulating these codes to specific ends. In some cases these can be seen working against what the readers’ prior impressions of a prima donna might have been, based on reports of her irregular private life and moral transgressions. This revealing case study offers insights into ideologies of gender that literally shaped the image and the public’s perception of Italian opera stars in the years before newspapers moved over from engravings to photography.
David J. Collins, S.J.
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199594795
- eISBN:
- 9780191741494
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199594795.003.0005
- Subject:
- Religion, History of Christianity, Religion and Literature
Leading German scholars, Renaissance humanists among them, began in the late fifteenth century a sustained effort at investigating a past they could call their own and writing about it in a panegyric ...
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Leading German scholars, Renaissance humanists among them, began in the late fifteenth century a sustained effort at investigating a past they could call their own and writing about it in a panegyric way. Although the participants failed to achieve the hoped-for cultural and topographical compendium about Germany from Antiquity to their present day, their efforts, collectively dubbed the Germania illustrata project, mark an important stage in the transition from medieval to modern ways of writing history. Yet modern analysis has often read subsequent developments in scholarly history -writing into the work of these German scholars, most strikingly neglecting the profoundly religious dimension that the humanists and their collaborators admired in the German past. This chapter’s goal is therefore a fresh consideration of the place of religious history in the construction of patriotic identities in early modern Germany, with Bavaria taken as a case study.Less
Leading German scholars, Renaissance humanists among them, began in the late fifteenth century a sustained effort at investigating a past they could call their own and writing about it in a panegyric way. Although the participants failed to achieve the hoped-for cultural and topographical compendium about Germany from Antiquity to their present day, their efforts, collectively dubbed the Germania illustrata project, mark an important stage in the transition from medieval to modern ways of writing history. Yet modern analysis has often read subsequent developments in scholarly history -writing into the work of these German scholars, most strikingly neglecting the profoundly religious dimension that the humanists and their collaborators admired in the German past. This chapter’s goal is therefore a fresh consideration of the place of religious history in the construction of patriotic identities in early modern Germany, with Bavaria taken as a case study.
Julie Nelson Davis
- Published in print:
- 2014
- Published Online:
- November 2016
- ISBN:
- 9780824839383
- eISBN:
- 9780824869533
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824839383.001.0001
- Subject:
- Society and Culture, Asian Studies
Through a discussion of collaboration in the genre of ukiyo-e (pictures of the floating world) this book offers a new approach to understanding the production and reception of print culture in early ...
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Through a discussion of collaboration in the genre of ukiyo-e (pictures of the floating world) this book offers a new approach to understanding the production and reception of print culture in early modern Japan. It demonstrates that this popular genre was the result of an exchange among publishers, designers, writers, carvers, printers, patrons, buyers, and readers. By recasting selected works from the later eighteenth century as examples of a network of commercial and artistic cooperation, Partners in Print expands our understanding of the dynamic processes of production, reception, and intention in floating world print culture. Through four case studies this book explores collaboration between a teacher and a student, two painters and their publishers, a designer and a publisher, and a writer and an illustrator. Each begins with a single work—a specially commissioned print, a lavishly illustrated album, a printed handscroll, and an inexpensive illustrated novel—to investigate these partnerships. These materials represent some of the diversity of printed things ranging from expensive works made for a select circle of connoisseurs to those sold at a modest price to a large audience. They take up subjects familiar from the floating world—connoisseurship, beauty, sex, and humor—and explore multiple dimensions of inquiry vital to that dynamic culture: the status of art, the evaluation of beauty, the representation of sexuality, and the tension between mind and body.Less
Through a discussion of collaboration in the genre of ukiyo-e (pictures of the floating world) this book offers a new approach to understanding the production and reception of print culture in early modern Japan. It demonstrates that this popular genre was the result of an exchange among publishers, designers, writers, carvers, printers, patrons, buyers, and readers. By recasting selected works from the later eighteenth century as examples of a network of commercial and artistic cooperation, Partners in Print expands our understanding of the dynamic processes of production, reception, and intention in floating world print culture. Through four case studies this book explores collaboration between a teacher and a student, two painters and their publishers, a designer and a publisher, and a writer and an illustrator. Each begins with a single work—a specially commissioned print, a lavishly illustrated album, a printed handscroll, and an inexpensive illustrated novel—to investigate these partnerships. These materials represent some of the diversity of printed things ranging from expensive works made for a select circle of connoisseurs to those sold at a modest price to a large audience. They take up subjects familiar from the floating world—connoisseurship, beauty, sex, and humor—and explore multiple dimensions of inquiry vital to that dynamic culture: the status of art, the evaluation of beauty, the representation of sexuality, and the tension between mind and body.
Charlotte Brewer
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199654345
- eISBN:
- 9780191745003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199654345.003.0011
- Subject:
- Literature, 18th-century Literature
This chapter explores Johnson's quotations from female-authored sources in his Dictionary in the context of his attitude towards and relationship with women writers, and the view of women and women's ...
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This chapter explores Johnson's quotations from female-authored sources in his Dictionary in the context of his attitude towards and relationship with women writers, and the view of women and women's language that may be found in the Dictionary as a whole (as derived from quotations from male, often misogynist, writers). It identifies fewer than 30 quotations from female writers (19 from Charlotte Lennox), out of a total of around 140,000 altogether, and discusses this disparity in relation to the increase in women's published writing from the late seventeenth century onwards. It asks whether and how Johnson's Dictionary might have been different, if it had included more female-authored quotations, and briefly compares its treatment of such sources with that of the OED.Less
This chapter explores Johnson's quotations from female-authored sources in his Dictionary in the context of his attitude towards and relationship with women writers, and the view of women and women's language that may be found in the Dictionary as a whole (as derived from quotations from male, often misogynist, writers). It identifies fewer than 30 quotations from female writers (19 from Charlotte Lennox), out of a total of around 140,000 altogether, and discusses this disparity in relation to the increase in women's published writing from the late seventeenth century onwards. It asks whether and how Johnson's Dictionary might have been different, if it had included more female-authored quotations, and briefly compares its treatment of such sources with that of the OED.
Honey Meconi
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252033155
- eISBN:
- 9780252050725
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252033155.003.0009
- Subject:
- Music, History, Western
The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed ...
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The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed chant versus liturgical recitative. Hildegard’s works are then placed in the context of the liturgical year, with anomalies indicated. A survey of the genres she used is followed by discussion of her shorter works: the Kyrie, her forty-three antiphons (with special attention to O tu illustrata), and the eighteen responsories. The norms for each genre are described, including formal expectations, and the ways in which Hildegard’s compositions meet or differ from these norms is indicated.Less
The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed chant versus liturgical recitative. Hildegard’s works are then placed in the context of the liturgical year, with anomalies indicated. A survey of the genres she used is followed by discussion of her shorter works: the Kyrie, her forty-three antiphons (with special attention to O tu illustrata), and the eighteen responsories. The norms for each genre are described, including formal expectations, and the ways in which Hildegard’s compositions meet or differ from these norms is indicated.
Charles Musser
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520292727
- eISBN:
- 9780520966123
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520292727.003.0002
- Subject:
- Society and Culture, Media Studies
Examines the 1888 and 1892 presidential campaigns that pitted Republican Benjamin Harrison, who favored a protective tariff, against Democrat Grover Cleveland, who wanted to lower taxes on imports. ...
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Examines the 1888 and 1892 presidential campaigns that pitted Republican Benjamin Harrison, who favored a protective tariff, against Democrat Grover Cleveland, who wanted to lower taxes on imports. The New York press was predominantly Democratic, which enabled Cleveland to win the 1884 election. The pro-Republican Protective Tariff League sponsored Judge John L. Wheeler’s wildly popular stereopticon lecture The Tariff Illustrated in 1888x, which was hailed as contributing to Harrison’s victory (a brief recession and Tammany Hall’s hostility to Cleveland were additional factors). In 1892 Republicans nominated New York Tribune publisher Whitelaw Reid as vice-president and had six orators who toured the Northeast, delivering illustrated lectures and promoting the protective tariff. Nevertheless, Cleveland proved victorious in the rematch.Less
Examines the 1888 and 1892 presidential campaigns that pitted Republican Benjamin Harrison, who favored a protective tariff, against Democrat Grover Cleveland, who wanted to lower taxes on imports. The New York press was predominantly Democratic, which enabled Cleveland to win the 1884 election. The pro-Republican Protective Tariff League sponsored Judge John L. Wheeler’s wildly popular stereopticon lecture The Tariff Illustrated in 1888x, which was hailed as contributing to Harrison’s victory (a brief recession and Tammany Hall’s hostility to Cleveland were additional factors). In 1892 Republicans nominated New York Tribune publisher Whitelaw Reid as vice-president and had six orators who toured the Northeast, delivering illustrated lectures and promoting the protective tariff. Nevertheless, Cleveland proved victorious in the rematch.
Charles Musser
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520292727
- eISBN:
- 9780520966123
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520292727.003.0003
- Subject:
- Society and Culture, Media Studies
Investigates the history of the stereopticon as a radically modernized magic lantern and its place in a larger US media formation. Using random word searches, its arch of popularity is traced from ...
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Investigates the history of the stereopticon as a radically modernized magic lantern and its place in a larger US media formation. Using random word searches, its arch of popularity is traced from the 1860s to an 1890s apex, followed by a gradual decline. The coincidence of its emergence with the term “illustrated lecture” is noted, pointing towards the initial formation of the documentary tradition. Circa 1850 the Frederick and William Langenheim developed the photographic glass slide: a key element of the stereopticon dispositif. Ten years later John Fallon introduced the stereopticon as a form of screen entertainment. In 1871, the stereopticon began to be used for outdoor advertising; soon after it was used to promote candidates and issues.Less
Investigates the history of the stereopticon as a radically modernized magic lantern and its place in a larger US media formation. Using random word searches, its arch of popularity is traced from the 1860s to an 1890s apex, followed by a gradual decline. The coincidence of its emergence with the term “illustrated lecture” is noted, pointing towards the initial formation of the documentary tradition. Circa 1850 the Frederick and William Langenheim developed the photographic glass slide: a key element of the stereopticon dispositif. Ten years later John Fallon introduced the stereopticon as a form of screen entertainment. In 1871, the stereopticon began to be used for outdoor advertising; soon after it was used to promote candidates and issues.
Charles Musser
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520292727
- eISBN:
- 9780520966123
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520292727.003.0005
- Subject:
- Society and Culture, Media Studies
Sketches out a succession of motion picture practices before 1910, focusing on the integration of two the stereopticon and cinema as a distinct dispositif between 1897 and 1903. The 1900 presidential ...
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Sketches out a succession of motion picture practices before 1910, focusing on the integration of two the stereopticon and cinema as a distinct dispositif between 1897 and 1903. The 1900 presidential campaign fell squarely within this time frame. The deployment of emergent media such as the motion pictures and the phonograph are explored, as the election’s paramount issue was Imperialism. McKinley and his running mate Theodore Roosevelt were advocates of American expansionism while William Jennings Bryan ran on an anti-imperialism platform. Illustrated lectures that celebrated US military interventions in Cuba and the Philippines were widely deployed and often presented by military personnel and preachers. They contributed to McKinley’s victory while Bryan supporters failed to make use of this media form.Less
Sketches out a succession of motion picture practices before 1910, focusing on the integration of two the stereopticon and cinema as a distinct dispositif between 1897 and 1903. The 1900 presidential campaign fell squarely within this time frame. The deployment of emergent media such as the motion pictures and the phonograph are explored, as the election’s paramount issue was Imperialism. McKinley and his running mate Theodore Roosevelt were advocates of American expansionism while William Jennings Bryan ran on an anti-imperialism platform. Illustrated lectures that celebrated US military interventions in Cuba and the Philippines were widely deployed and often presented by military personnel and preachers. They contributed to McKinley’s victory while Bryan supporters failed to make use of this media form.
Michael Dylan Foster
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520253612
- eISBN:
- 9780520942677
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520253612.003.0002
- Subject:
- Anthropology, Social and Cultural Anthropology
This chapter studies how the earliest illustrated encyclopedias in Japan presented and classified mysterious creatures. It introduces artist Toriyama Sekien, who combined the seriousness of academic ...
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This chapter studies how the earliest illustrated encyclopedias in Japan presented and classified mysterious creatures. It introduces artist Toriyama Sekien, who combined the seriousness of academic encyclopedias with the playfulness of popular comic verse and storytelling in order to document visually the creatures of the invisible world. It shows how Sekien's four yôkai catalogs influenced how people conceived of yôkai. It notes that Sekien's bestiaries contributed to the creation of a clear Japanese otherworldly landscape.Less
This chapter studies how the earliest illustrated encyclopedias in Japan presented and classified mysterious creatures. It introduces artist Toriyama Sekien, who combined the seriousness of academic encyclopedias with the playfulness of popular comic verse and storytelling in order to document visually the creatures of the invisible world. It shows how Sekien's four yôkai catalogs influenced how people conceived of yôkai. It notes that Sekien's bestiaries contributed to the creation of a clear Japanese otherworldly landscape.
Valerie A. Kivelson
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780197265987
- eISBN:
- 9780191772054
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265987.003.0003
- Subject:
- History, European Modern History
In the 16th and 17th centuries, between the reign of Ivan the Terrible and that of Peter the Great, Muscovite Russian forces swept eastward, conquering, colonising, and controlling territories ...
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In the 16th and 17th centuries, between the reign of Ivan the Terrible and that of Peter the Great, Muscovite Russian forces swept eastward, conquering, colonising, and controlling territories reaching from the Volga to the Pacific. Unlike contemporary Western European empires, Russians left few theoretical considerations of what this imperial advance signified to them or how they understood their role as imperial conquerors and overlords. They did, however, leave a colourful collection of illustrated chronicles depicting their battles with the many varied peoples of the steppe and Siberia. Filled with blood and carnage, these images employ surprising visual tropes that distinguish moral from immoral and just from unjust uses of violence, with significant implications for understanding early modern Russian policies of imperial incorporation.Less
In the 16th and 17th centuries, between the reign of Ivan the Terrible and that of Peter the Great, Muscovite Russian forces swept eastward, conquering, colonising, and controlling territories reaching from the Volga to the Pacific. Unlike contemporary Western European empires, Russians left few theoretical considerations of what this imperial advance signified to them or how they understood their role as imperial conquerors and overlords. They did, however, leave a colourful collection of illustrated chronicles depicting their battles with the many varied peoples of the steppe and Siberia. Filled with blood and carnage, these images employ surprising visual tropes that distinguish moral from immoral and just from unjust uses of violence, with significant implications for understanding early modern Russian policies of imperial incorporation.
Steve Selvin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9780198833444
- eISBN:
- 9780191872280
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198833444.003.0017
- Subject:
- Mathematics, Probability / Statistics, Applied Mathematics
A historic observation that tall fathers tend to have shorter sons and short fathers tend to have taller sons is explored. The “Sports Illustrated jinx” is related and also described.
A historic observation that tall fathers tend to have shorter sons and short fathers tend to have taller sons is explored. The “Sports Illustrated jinx” is related and also described.
Catherine E. Clark
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780190681647
- eISBN:
- 9780190681678
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190681647.001.0001
- Subject:
- History, European Modern History, History of Ideas
Focusing on one of photography’s birthplaces, Paris and the Cliché of History tells the story of how photographs came to be imagined and deployed as documents of the past. It uncovers the changing ...
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Focusing on one of photography’s birthplaces, Paris and the Cliché of History tells the story of how photographs came to be imagined and deployed as documents of the past. It uncovers the changing conventions that drove the formation of public photo archives, the inclusion of photos on the pages of illustrated books, their place in historical exhibitions and public festivals, and the organization of amateur photo contests to document Paris. It explores how contemporaries looked at photos, new and old, through the lenses of war, occupation, urban renovation, and other traumas. From this point of view, Paris and the Cliché of History offers new versions of familiar stories about Haussmannization, the professionalization of history, the cultural effects of World War I, and the 1944 Liberation of Paris as well as the first in-depth accounts of the 1951 celebration of Paris’s birthday (the Bimillénaire de Paris) and the 100,000 photographs submitted to an ambitious effort to document the city for the future: the amateur photo contest “This was Paris in 1970.” It calls for historians to pull the curtain on using photographs as transparent windows onto the past and proposes a historical methodology that registers photographic production, circulation, and preservation as part and parcel of history itself. Ultimately the book presents a compelling argument for the importance of this history of photographs to the story of Paris since 1860 and to arguments about its reduction to a museum city, or merely an image, since the 1960s.Less
Focusing on one of photography’s birthplaces, Paris and the Cliché of History tells the story of how photographs came to be imagined and deployed as documents of the past. It uncovers the changing conventions that drove the formation of public photo archives, the inclusion of photos on the pages of illustrated books, their place in historical exhibitions and public festivals, and the organization of amateur photo contests to document Paris. It explores how contemporaries looked at photos, new and old, through the lenses of war, occupation, urban renovation, and other traumas. From this point of view, Paris and the Cliché of History offers new versions of familiar stories about Haussmannization, the professionalization of history, the cultural effects of World War I, and the 1944 Liberation of Paris as well as the first in-depth accounts of the 1951 celebration of Paris’s birthday (the Bimillénaire de Paris) and the 100,000 photographs submitted to an ambitious effort to document the city for the future: the amateur photo contest “This was Paris in 1970.” It calls for historians to pull the curtain on using photographs as transparent windows onto the past and proposes a historical methodology that registers photographic production, circulation, and preservation as part and parcel of history itself. Ultimately the book presents a compelling argument for the importance of this history of photographs to the story of Paris since 1860 and to arguments about its reduction to a museum city, or merely an image, since the 1960s.
