Farah Jasmine Griffin
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780195088960
- eISBN:
- 9780199855148
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195088960.001.0001
- Subject:
- Literature, African-American Literature
This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African ...
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This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African American cultural tradition. Covering a period from 1923 to 1992, the book provides close readings of novels, autobiographies, songs, poetry, and painting; in so doing it carves out a framework that allows for a more inclusive reading of African American cultural forms.Less
This book is the first sustained study of migration as it is portrayed in African American literature, letters, music, and painting. It identifies the “migration narrative” as a dominant African American cultural tradition. Covering a period from 1923 to 1992, the book provides close readings of novels, autobiographies, songs, poetry, and painting; in so doing it carves out a framework that allows for a more inclusive reading of African American cultural forms.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0012
- Subject:
- Religion, Religion and Society
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple ...
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Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.Less
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.
Andy Rotman
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195366150
- eISBN:
- 9780199867882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195366150.003.0009
- Subject:
- Religion, Buddhism
Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of ...
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Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of premodern Buddhist practitioners. Seeing Buddhist art, it seems, involved quite a bit of listening. The chapter considers more broadly the world of the visual in the Divyāvadāna and offers some suggestions with regard to the social and political transformations that may account for its construction.Less
Chapter 8 reflects further on the role of images in Buddhist worship, and what the sculptures and paintings on Buddhist monuments in South Asia may be able to tell us about the ways of seeing of premodern Buddhist practitioners. Seeing Buddhist art, it seems, involved quite a bit of listening. The chapter considers more broadly the world of the visual in the Divyāvadāna and offers some suggestions with regard to the social and political transformations that may account for its construction.
Ida Östenberg
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199215973
- eISBN:
- 9780191706851
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199215973.003.0004
- Subject:
- Classical Studies, European History: BCE to 500CE
It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a ...
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It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a public place. This chapter argues that commemorative paintings placed in temples and public places were made directly for static display and not for show in the triumphal processions. Battle scenes in the triumphs were other kinds of representations, produced in various media, such as models, sculptures, and dramatic tableaux. Besides war scenes, the triumph included personifications of peoples and rivers that were staged as living captives. Representations of cities, on the other hand, were shown primarily as models of rich materials, such as ivory and silver. The preference for models over personifications reveals a Roman fear of offending the gods by displaying divine, or quasi-divine beings such as cities as living creatures in fetters.Less
It is generally assumed that a ‘triumphal painting’ glorified and commemorated the general's martial deeds by way of a twofold display: first in his triumphal procession, later in a temple or a public place. This chapter argues that commemorative paintings placed in temples and public places were made directly for static display and not for show in the triumphal processions. Battle scenes in the triumphs were other kinds of representations, produced in various media, such as models, sculptures, and dramatic tableaux. Besides war scenes, the triumph included personifications of peoples and rivers that were staged as living captives. Representations of cities, on the other hand, were shown primarily as models of rich materials, such as ivory and silver. The preference for models over personifications reveals a Roman fear of offending the gods by displaying divine, or quasi-divine beings such as cities as living creatures in fetters.
Gawdat Gabra and Hany N. Takla
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789774163111
- eISBN:
- 9781617970481
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774163111.003.0025
- Subject:
- Religion, History of Christianity
Many activities during the last fifteen years have been carried out to discover or conserve the Coptic murals. These activities have been sponsored by Dutch, French, Polish, and American (ARCE) ...
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Many activities during the last fifteen years have been carried out to discover or conserve the Coptic murals. These activities have been sponsored by Dutch, French, Polish, and American (ARCE) missions. The Monastery of St. Antony (Dayr Anba Antunius) also had a great chance for the conservation of its murals in 1992, when an Italian team made a cleaning test and discovered wonderful vivid colors. The composition of the wall paintings in the two monasteries is different. The background in Dayr al-Fakhuri is red bricks; in Dayr al-Shuhada it is mud bricks. The rendering in al-Fakhuri could be lime mortar up to a few centimeters thick, the rendering in al-Shuhada is from mud clay. As a result of renovation, some changes took place after the year 1975, and these paintings disappeared. It is difficult in any event to compare the photographs by Leroy and the current situation of the paintings.Less
Many activities during the last fifteen years have been carried out to discover or conserve the Coptic murals. These activities have been sponsored by Dutch, French, Polish, and American (ARCE) missions. The Monastery of St. Antony (Dayr Anba Antunius) also had a great chance for the conservation of its murals in 1992, when an Italian team made a cleaning test and discovered wonderful vivid colors. The composition of the wall paintings in the two monasteries is different. The background in Dayr al-Fakhuri is red bricks; in Dayr al-Shuhada it is mud bricks. The rendering in al-Fakhuri could be lime mortar up to a few centimeters thick, the rendering in al-Shuhada is from mud clay. As a result of renovation, some changes took place after the year 1975, and these paintings disappeared. It is difficult in any event to compare the photographs by Leroy and the current situation of the paintings.
Kimberley Christine Patton
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195091069
- eISBN:
- 9780199871568
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195091069.003.0001
- Subject:
- Religion, World Religions
This introductory chapter begins with a discussion of the possible meanings of images of gods performing religious rituals, which was prompted by vase painting ascribed to the Berlin painter, one of ...
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This introductory chapter begins with a discussion of the possible meanings of images of gods performing religious rituals, which was prompted by vase painting ascribed to the Berlin painter, one of the great masters of ancient Greek vase-painting. It argues that it is virtually impossible to solve the hermeneutical problem of the “libating gods” in ancient Greek vase painting by staying within the evidence afforded by the tradition. We need to look elsewhere, and we need to subject these images to the multiple recombination afforded only through comparative analysis. Similar images from other religions of the world are then considered in this chapter. An overview of the subsequent chapters is presented.Less
This introductory chapter begins with a discussion of the possible meanings of images of gods performing religious rituals, which was prompted by vase painting ascribed to the Berlin painter, one of the great masters of ancient Greek vase-painting. It argues that it is virtually impossible to solve the hermeneutical problem of the “libating gods” in ancient Greek vase painting by staying within the evidence afforded by the tradition. We need to look elsewhere, and we need to subject these images to the multiple recombination afforded only through comparative analysis. Similar images from other religions of the world are then considered in this chapter. An overview of the subsequent chapters is presented.
Kimberley Christine Patton
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195091069
- eISBN:
- 9780199871568
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195091069.003.0003
- Subject:
- Religion, World Religions
This chapter considers the question of how best to understand the ancient Greek ceremony of libation within its religious context. Questions addressed include: What kind of an offering was libation, ...
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This chapter considers the question of how best to understand the ancient Greek ceremony of libation within its religious context. Questions addressed include: What kind of an offering was libation, and to whom, in anyone, was it offered? How did it reach its recipients? In what sense is libation “sacrifice?”Less
This chapter considers the question of how best to understand the ancient Greek ceremony of libation within its religious context. Questions addressed include: What kind of an offering was libation, and to whom, in anyone, was it offered? How did it reach its recipients? In what sense is libation “sacrifice?”
Kimberley Christine Patton
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195091069
- eISBN:
- 9780199871568
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195091069.003.0005
- Subject:
- Religion, World Religions
There appears to be nothing in ancient Greek literature that sheds light on the possible religions meaning of gods pouring libations. Contemporaneous written interpretations of Olympian gods who pour ...
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There appears to be nothing in ancient Greek literature that sheds light on the possible religions meaning of gods pouring libations. Contemporaneous written interpretations of Olympian gods who pour out wine offerings from cultic bowls are lost, or never existed. This chapter considers known ancient literary evidence that may bear upon the question of divine libations in classical art. These comprise both descriptions of actual cult statues and a more nebulous category made up of classical passages in which gods take part in the performance of ritual—with or without editorializing on the part of the ancient author.Less
There appears to be nothing in ancient Greek literature that sheds light on the possible religions meaning of gods pouring libations. Contemporaneous written interpretations of Olympian gods who pour out wine offerings from cultic bowls are lost, or never existed. This chapter considers known ancient literary evidence that may bear upon the question of divine libations in classical art. These comprise both descriptions of actual cult statues and a more nebulous category made up of classical passages in which gods take part in the performance of ritual—with or without editorializing on the part of the ancient author.
JESSICA RAWSON
- Published in print:
- 2003
- Published Online:
- January 2013
- ISBN:
- 9780197262795
- eISBN:
- 9780191753954
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262795.003.0001
- Subject:
- History, Cultural History
Mountainous landscapes, with massive crags and narrow fissures between rocks, through which water spouts, are among the principal subjects of paintings in China. This chapter addresses the question, ...
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Mountainous landscapes, with massive crags and narrow fissures between rocks, through which water spouts, are among the principal subjects of paintings in China. This chapter addresses the question, why, in the first place, were these subjects chosen? It focuses on developments made during the Qin (221–207 bc) and Han (206 bc–ad 220) dynasties, from the third century bc onwards. It explores the ways in which the conditions prevailing in the Qin and Han periods moulded some aspects of the later Chinese practice. It is argued that the ways in which the Chinese from the Han period onwards viewed the cosmos determined their choice of mountains as a major subject for painted images. The chapter discusses attitudes to the cosmos and the aesthetic consequences of these views. It considers the whole range of ideas about the universe and not simply with depictions or models of mountains as representing one part of the cosmos.Less
Mountainous landscapes, with massive crags and narrow fissures between rocks, through which water spouts, are among the principal subjects of paintings in China. This chapter addresses the question, why, in the first place, were these subjects chosen? It focuses on developments made during the Qin (221–207 bc) and Han (206 bc–ad 220) dynasties, from the third century bc onwards. It explores the ways in which the conditions prevailing in the Qin and Han periods moulded some aspects of the later Chinese practice. It is argued that the ways in which the Chinese from the Han period onwards viewed the cosmos determined their choice of mountains as a major subject for painted images. The chapter discusses attitudes to the cosmos and the aesthetic consequences of these views. It considers the whole range of ideas about the universe and not simply with depictions or models of mountains as representing one part of the cosmos.
Peter Gardenfors
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780198528517
- eISBN:
- 9780191689543
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198528517.001.0001
- Subject:
- Psychology, Cognitive Psychology
Our ability to think is one of our most puzzling characteristics. What would it be like to be unable to think? What would it be like to lack self-awareness? The complexity of this activity is ...
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Our ability to think is one of our most puzzling characteristics. What would it be like to be unable to think? What would it be like to lack self-awareness? The complexity of this activity is striking. Thinking involves the interaction of a range of mental processes — attention, emotion, memory, planning, self-consciousness, free will, and language. So where did these processes arise? What evolutionary advantages were bestowed upon those with an ability to deceive, to plan, to empathize, or to understand the intentions of others? In this compelling work, the author embarks on an evolutionary detective story to try and solve one of the big mysteries surrounding human existence — how has the modern human being's way of thinking come into existence? He starts by taking in turn the more basic cognitive processes, such as attention and memory, then builds upon these to explore more complex behaviours, such as self-consciousness, mindreading, and imitation. Having done this, he examines the consequences of ‘putting thought into the world’, using external media like cave paintings, drawings and writing.Less
Our ability to think is one of our most puzzling characteristics. What would it be like to be unable to think? What would it be like to lack self-awareness? The complexity of this activity is striking. Thinking involves the interaction of a range of mental processes — attention, emotion, memory, planning, self-consciousness, free will, and language. So where did these processes arise? What evolutionary advantages were bestowed upon those with an ability to deceive, to plan, to empathize, or to understand the intentions of others? In this compelling work, the author embarks on an evolutionary detective story to try and solve one of the big mysteries surrounding human existence — how has the modern human being's way of thinking come into existence? He starts by taking in turn the more basic cognitive processes, such as attention and memory, then builds upon these to explore more complex behaviours, such as self-consciousness, mindreading, and imitation. Having done this, he examines the consequences of ‘putting thought into the world’, using external media like cave paintings, drawings and writing.
Fariha Shaikh
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474433693
- eISBN:
- 9781474449663
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474433693.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Nineteenth-Century Settler Emigration in British Literature and Art takes an interdisciplinary approach, combining literary criticism, art history, and cultural geography, to argue that the ...
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Nineteenth-Century Settler Emigration in British Literature and Art takes an interdisciplinary approach, combining literary criticism, art history, and cultural geography, to argue that the demographic shift in the nineteenth century to settler colonies in Canada, Australia and New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. Through its five chapters, Nineteenth-Century Settler Emigration brings printed emigrants’ letters, manuscript shipboard newspapers, and settler fiction into conversation with narrative painting and novels to explore the generic features of emigration literature: textual mobility, a sense of place and colonial home-making. Authors and artists discussed in this book include, among others, Ford Madox Brown, James Collinson, Charles Dickens, Elizabeth Gaskell, Susannah Moodie, Catherine Helen Spence, Catharine Parr Traill and Thomas Webster. The book’s careful analysis of the aesthetics of emigration literature demonstrates the close relationships between textual and demographic mobilities, textual materiality and realism, and the spatial imagination.Less
Nineteenth-Century Settler Emigration in British Literature and Art takes an interdisciplinary approach, combining literary criticism, art history, and cultural geography, to argue that the demographic shift in the nineteenth century to settler colonies in Canada, Australia and New Zealand was also a textual one: a vast literature supported and underpinned this movement of people. Through its five chapters, Nineteenth-Century Settler Emigration brings printed emigrants’ letters, manuscript shipboard newspapers, and settler fiction into conversation with narrative painting and novels to explore the generic features of emigration literature: textual mobility, a sense of place and colonial home-making. Authors and artists discussed in this book include, among others, Ford Madox Brown, James Collinson, Charles Dickens, Elizabeth Gaskell, Susannah Moodie, Catherine Helen Spence, Catharine Parr Traill and Thomas Webster. The book’s careful analysis of the aesthetics of emigration literature demonstrates the close relationships between textual and demographic mobilities, textual materiality and realism, and the spatial imagination.
Simon Goldhill
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691149844
- eISBN:
- 9781400840076
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691149844.003.0002
- Subject:
- History, European Modern History
This chapter examines how paintings depicting the classical past became a way of talking about—or not talking about—sexual desire by focusing on the art of John William Waterhouse. It considers four ...
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This chapter examines how paintings depicting the classical past became a way of talking about—or not talking about—sexual desire by focusing on the art of John William Waterhouse. It considers four of Waterhouse's paintings—Saint Eulalia, Mariamne, Hylas and the Nymph, and Circe Offering the Cup to Odysseus—and shows that they are a paradigmatic site for reflecting on the complexity of the circulation of classical knowledge in Victorian culture—reception in action. It also explores how Waterhouse represents the male subject of desire, and how his representational devices position, manipulate, and implicate the viewer. The discussion places Waterhouse at the center of a Victorian worry about male self-control and erotic openness, and suggests that his case is an example of how one strategy of modern self-definition loves to oversimplify “the Victorians” as a contrastive other to today—and nowhere more obviously than in the field of sexuality.Less
This chapter examines how paintings depicting the classical past became a way of talking about—or not talking about—sexual desire by focusing on the art of John William Waterhouse. It considers four of Waterhouse's paintings—Saint Eulalia, Mariamne, Hylas and the Nymph, and Circe Offering the Cup to Odysseus—and shows that they are a paradigmatic site for reflecting on the complexity of the circulation of classical knowledge in Victorian culture—reception in action. It also explores how Waterhouse represents the male subject of desire, and how his representational devices position, manipulate, and implicate the viewer. The discussion places Waterhouse at the center of a Victorian worry about male self-control and erotic openness, and suggests that his case is an example of how one strategy of modern self-definition loves to oversimplify “the Victorians” as a contrastive other to today—and nowhere more obviously than in the field of sexuality.
Simon Goldhill
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691149844
- eISBN:
- 9781400840076
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691149844.003.0003
- Subject:
- History, European Modern History
This chapter examines one of the paintings of Lawrence Alma-Tadema, which concerns the space of desire—a Greek scene, the gap between a man and a woman, the touch of a girl and a woman—and how this ...
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This chapter examines one of the paintings of Lawrence Alma-Tadema, which concerns the space of desire—a Greek scene, the gap between a man and a woman, the touch of a girl and a woman—and how this space is traversed by critics and viewers, then and now. The painting in question is Sappho, now usually called Sappho and Alcaeus, that was exhibited in the Royal Academy by Alma-Tadema in 1881. The chapter considers the shifting recognition of desire in readers' receptions of a Victorian image of the classical past—and the interpretative lures and snags of such an enquiry. It demonstrates how desire speaks and silences its name in art by analyzing not only the image of a poet from antiquity, but also the most famous female poet of ancient Greece, Sappho, whose name has become synonymous with the expression of female desire.Less
This chapter examines one of the paintings of Lawrence Alma-Tadema, which concerns the space of desire—a Greek scene, the gap between a man and a woman, the touch of a girl and a woman—and how this space is traversed by critics and viewers, then and now. The painting in question is Sappho, now usually called Sappho and Alcaeus, that was exhibited in the Royal Academy by Alma-Tadema in 1881. The chapter considers the shifting recognition of desire in readers' receptions of a Victorian image of the classical past—and the interpretative lures and snags of such an enquiry. It demonstrates how desire speaks and silences its name in art by analyzing not only the image of a poet from antiquity, but also the most famous female poet of ancient Greece, Sappho, whose name has become synonymous with the expression of female desire.
Yun Lee Too
- Published in print:
- 2010
- Published Online:
- February 2010
- ISBN:
- 9780199577804
- eISBN:
- 9780191722912
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199577804.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Walk into an ancient library and you will see it adorned with artwork, statues, and paintings. Chapter 7 reads the relationship between art and text, seeing it as something that might effect ...
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Walk into an ancient library and you will see it adorned with artwork, statues, and paintings. Chapter 7 reads the relationship between art and text, seeing it as something that might effect psychological change in the viewer, connecting him with the past and serving as an aid to memory. Art also articulates the wealth that the library represents.Less
Walk into an ancient library and you will see it adorned with artwork, statues, and paintings. Chapter 7 reads the relationship between art and text, seeing it as something that might effect psychological change in the viewer, connecting him with the past and serving as an aid to memory. Art also articulates the wealth that the library represents.
Antoin E. Murphy
- Published in print:
- 1997
- Published Online:
- November 2003
- ISBN:
- 9780198286493
- eISBN:
- 9780191596674
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019828649X.003.0021
- Subject:
- Economics and Finance, History of Economic Thought
Law's final years in Venice saw him continuing to persuade the French authorities to bring him back to France. He also continued to gamble and to build up an impressive collection of Old Masters’ ...
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Law's final years in Venice saw him continuing to persuade the French authorities to bring him back to France. He also continued to gamble and to build up an impressive collection of Old Masters’ paintings.Less
Law's final years in Venice saw him continuing to persuade the French authorities to bring him back to France. He also continued to gamble and to build up an impressive collection of Old Masters’ paintings.
Henry Maguire
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199766604
- eISBN:
- 9780199950386
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199766604.003.0005
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
This chapter discusses the role of architectural backgrounds depicted in post-iconoclastic mosaics and paintings, which acted as a symbolic language that substituted for the old symbols derived from ...
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This chapter discusses the role of architectural backgrounds depicted in post-iconoclastic mosaics and paintings, which acted as a symbolic language that substituted for the old symbols derived from the world of nature. It covers the symbolism of individual architectural elements such as doors, gates, stairs, and columns, as well as the meanings generated by the creation and denial of the illusion of physical space.Less
This chapter discusses the role of architectural backgrounds depicted in post-iconoclastic mosaics and paintings, which acted as a symbolic language that substituted for the old symbols derived from the world of nature. It covers the symbolism of individual architectural elements such as doors, gates, stairs, and columns, as well as the meanings generated by the creation and denial of the illusion of physical space.
David Roessel
- Published in print:
- 2001
- Published Online:
- January 2008
- ISBN:
- 9780195143867
- eISBN:
- 9780199871872
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195143867.003.0005
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter explores the omnipresence of Byronic Greece in writing in English from 1833 to 1913. Byron's poetry became a mantra for entry into the “experience” of Greece with sites where, as late as ...
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This chapter explores the omnipresence of Byronic Greece in writing in English from 1833 to 1913. Byron's poetry became a mantra for entry into the “experience” of Greece with sites where, as late as 1947, Dora Una Ratcliffe claimed that “the temptation to quote tries one sorely”. In 1906, Sir Sidney Colvin recalled his first visit to Athens in lines that call to mind the Greeces of Homer and Byron delineated by Hugo. Byron also was used as the medium for the experience of Greek sites in a number of paintings.Less
This chapter explores the omnipresence of Byronic Greece in writing in English from 1833 to 1913. Byron's poetry became a mantra for entry into the “experience” of Greece with sites where, as late as 1947, Dora Una Ratcliffe claimed that “the temptation to quote tries one sorely”. In 1906, Sir Sidney Colvin recalled his first visit to Athens in lines that call to mind the Greeces of Homer and Byron delineated by Hugo. Byron also was used as the medium for the experience of Greek sites in a number of paintings.
W. A. Sessions
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780198186250
- eISBN:
- 9780191674457
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186250.001.0001
- Subject:
- Literature, Poetry
This book provides a comprehensive biography of Henry Howard, Poet Earl of Surrey. It combines historical scholarship with close readings of poetic texts and Tudor paintings to explore Surrey's ...
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This book provides a comprehensive biography of Henry Howard, Poet Earl of Surrey. It combines historical scholarship with close readings of poetic texts and Tudor paintings to explore Surrey's unique life. The first cousin of Queens Anne Boleyn and Catherine Howard (and an influence on his young cousin the Princess Elizabeth), he was beheaded in 1547 on the orders of Henry VIII. Surrey embodied the contradictions of the courtier's role, through his standing both as a representative of the older nobility and heir to the greatest title outside the royal family, and as a poet who wrote innovative texts and created the most enduring poetic forms in England, the English sonnet and blank verse. More and more, critics and scholars have called for a more contemporary and wider assessment of his role in Tudor society. This book uses Surrey's redefinition of the role of Tudor courtier through his poems, his unique portraits, his military campaigns, and his political presence, to reveal how he created the first image in England of the Renaissance courtier. Surrey is also shown to embody the rather more modern image of the poet who writes and invents in the midst of radical violence.Less
This book provides a comprehensive biography of Henry Howard, Poet Earl of Surrey. It combines historical scholarship with close readings of poetic texts and Tudor paintings to explore Surrey's unique life. The first cousin of Queens Anne Boleyn and Catherine Howard (and an influence on his young cousin the Princess Elizabeth), he was beheaded in 1547 on the orders of Henry VIII. Surrey embodied the contradictions of the courtier's role, through his standing both as a representative of the older nobility and heir to the greatest title outside the royal family, and as a poet who wrote innovative texts and created the most enduring poetic forms in England, the English sonnet and blank verse. More and more, critics and scholars have called for a more contemporary and wider assessment of his role in Tudor society. This book uses Surrey's redefinition of the role of Tudor courtier through his poems, his unique portraits, his military campaigns, and his political presence, to reveal how he created the first image in England of the Renaissance courtier. Surrey is also shown to embody the rather more modern image of the poet who writes and invents in the midst of radical violence.
Milette Gaifman
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199645787
- eISBN:
- 9780191741623
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199645787.003.0007
- Subject:
- Classical Studies, Archaeology: Classical, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
This chapter turns from physical stone stelai, and their replications in relief, to representations of similar monuments on vase paintings of the classical period. Although the images seen here ...
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This chapter turns from physical stone stelai, and their replications in relief, to representations of similar monuments on vase paintings of the classical period. Although the images seen here incorporate elements from ancient actuality, they are not direct reflections of lost realities; they are visual constructs that operate under the regime of pictorial representation. These depictions are statements in their own right that offer ancient testaments of the nature of aniconism conveyed visually rather than in texts, and are particularly instructive for understanding of the place of the aniconic in Greek religion and visual culture. These vase paintings present standing stelai that marked the presence of a divinity as liminal in their essence.Less
This chapter turns from physical stone stelai, and their replications in relief, to representations of similar monuments on vase paintings of the classical period. Although the images seen here incorporate elements from ancient actuality, they are not direct reflections of lost realities; they are visual constructs that operate under the regime of pictorial representation. These depictions are statements in their own right that offer ancient testaments of the nature of aniconism conveyed visually rather than in texts, and are particularly instructive for understanding of the place of the aniconic in Greek religion and visual culture. These vase paintings present standing stelai that marked the presence of a divinity as liminal in their essence.
Carolyn Merchant
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780300215458
- eISBN:
- 9780300224924
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300215458.001.0001
- Subject:
- Environmental Science, Nature
In 1887, a year after founding the Audubon Society, explorer and conservationist George Bird Grinnell launched The Audubon Magazine. The magazine constituted one of the first efforts to preserve bird ...
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In 1887, a year after founding the Audubon Society, explorer and conservationist George Bird Grinnell launched The Audubon Magazine. The magazine constituted one of the first efforts to preserve bird species decimated by the women's hat trade, hunting, and loss of habitat. Within two years, however, for practical reasons, Grinnell dissolved both the magazine and the society. Remarkably, Grinnell's mission was soon revived by women and men who believed in it, and the work continues today. This book, the only comprehensive history of the first Audubon Society (1886–1889), presents the exceptional story of George Bird Grinnell and his writings and legacy. The book features Grinnell's biographies of ornithologists John James Audubon and Alexander Wilson and his editorials and descriptions of Audubon's bird paintings. This primary documentation combined with insightful analysis casts new light on Grinnell, the origins of the first Audubon Society, and the conservation of avifauna.Less
In 1887, a year after founding the Audubon Society, explorer and conservationist George Bird Grinnell launched The Audubon Magazine. The magazine constituted one of the first efforts to preserve bird species decimated by the women's hat trade, hunting, and loss of habitat. Within two years, however, for practical reasons, Grinnell dissolved both the magazine and the society. Remarkably, Grinnell's mission was soon revived by women and men who believed in it, and the work continues today. This book, the only comprehensive history of the first Audubon Society (1886–1889), presents the exceptional story of George Bird Grinnell and his writings and legacy. The book features Grinnell's biographies of ornithologists John James Audubon and Alexander Wilson and his editorials and descriptions of Audubon's bird paintings. This primary documentation combined with insightful analysis casts new light on Grinnell, the origins of the first Audubon Society, and the conservation of avifauna.
