Karen Chase
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199564361
- eISBN:
- 9780191722592
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199564361.003.0009
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
This brief afterward glances at the growing prominence of the elderly by the century's end, and connects it to the increase in visibility brought about by reforms in institutional care, the passing ...
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This brief afterward glances at the growing prominence of the elderly by the century's end, and connects it to the increase in visibility brought about by reforms in institutional care, the passing of an Old Age Pensions Bill, the maturing of gerontology as a medical discipline, the increasing awareness of a generational divide, and not the least, by the narratives, journalism and portraits of aging which it has been the task and the pleasure of this book to analyze.Less
This brief afterward glances at the growing prominence of the elderly by the century's end, and connects it to the increase in visibility brought about by reforms in institutional care, the passing of an Old Age Pensions Bill, the maturing of gerontology as a medical discipline, the increasing awareness of a generational divide, and not the least, by the narratives, journalism and portraits of aging which it has been the task and the pleasure of this book to analyze.
Leah F. Vosko
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199574810
- eISBN:
- 9780191722080
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199574810.003.0004
- Subject:
- Business and Management, Political Economy, HRM / IR
This chapter initiates the book's statistical portrait of employment trends in industrialized contexts in the late 20th and early 21st centuries. This portrait illustrates the slow erosion of ...
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This chapter initiates the book's statistical portrait of employment trends in industrialized contexts in the late 20th and early 21st centuries. This portrait illustrates the slow erosion of full‐time permanent employment in Australia, Canada, the European Union 15, and to a lesser extent the United States. Linking employment trends to sex/gender divisions of unpaid work, it also reveals that, despite formal equality, full‐time permanent employment and non‐standard employment remain gendered and shaped by immigration status to the present. Concern about the spread of precarious employment accompanied these trends. At the international level, the result was a series of regulations aimed at shoring up this employment norm: adopted between 1990 and 2008 and organized around its central pillars of working time, continuity, and the employment relationship, these regulations seek to ensure that citizen‐workers do not see their employment and occupational opportunities or working conditions limited by barriers based on form of employment.Less
This chapter initiates the book's statistical portrait of employment trends in industrialized contexts in the late 20th and early 21st centuries. This portrait illustrates the slow erosion of full‐time permanent employment in Australia, Canada, the European Union 15, and to a lesser extent the United States. Linking employment trends to sex/gender divisions of unpaid work, it also reveals that, despite formal equality, full‐time permanent employment and non‐standard employment remain gendered and shaped by immigration status to the present. Concern about the spread of precarious employment accompanied these trends. At the international level, the result was a series of regulations aimed at shoring up this employment norm: adopted between 1990 and 2008 and organized around its central pillars of working time, continuity, and the employment relationship, these regulations seek to ensure that citizen‐workers do not see their employment and occupational opportunities or working conditions limited by barriers based on form of employment.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0012
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; ...
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This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; especially her father's Dictionary of National Biography; the influence of Freud on Bloomsbury; Woolf's own critical discussions of biography; and New Criticism's antagonism to biographical interpretation; though it also draws on recent biographical criticism of Woolf. It discusses Jacob's Room and Flush, but concentrates on Orlando, arguing that it draws on the notions of imaginary and composite portraits discussed earlier. Whereas Orlando is often read as a ‘debunking’ of an obtuse biographer‐narrator, it shows how Woolf's aims are much more complex. First, the book's historical range is alert to the historical development of biography; and that the narrator is no more fixed than Orlando, but transforms with each epoch. Second, towards the ending the narrator begins to sound curiously like Lytton Strachey, himself the arch‐debunker of Victorian biographical piety. Thus Orlando is read as both example and parody of what Woolf called ‘The New Biography’. The chapter reads Woolf in parallel with Harold Nicolson's The Development of English Biography, and also his book Some People—a text whose imaginary (self)portraiture provoked her discussion of ‘The New Biography’ as well as contributing to the conception of Orlando.Less
This chapter focuses on the British modernist whose work represents the most sustained fictionalising engagement with biography. It recounts changes in biographical theory in Woolf's lifetime; especially her father's Dictionary of National Biography; the influence of Freud on Bloomsbury; Woolf's own critical discussions of biography; and New Criticism's antagonism to biographical interpretation; though it also draws on recent biographical criticism of Woolf. It discusses Jacob's Room and Flush, but concentrates on Orlando, arguing that it draws on the notions of imaginary and composite portraits discussed earlier. Whereas Orlando is often read as a ‘debunking’ of an obtuse biographer‐narrator, it shows how Woolf's aims are much more complex. First, the book's historical range is alert to the historical development of biography; and that the narrator is no more fixed than Orlando, but transforms with each epoch. Second, towards the ending the narrator begins to sound curiously like Lytton Strachey, himself the arch‐debunker of Victorian biographical piety. Thus Orlando is read as both example and parody of what Woolf called ‘The New Biography’. The chapter reads Woolf in parallel with Harold Nicolson's The Development of English Biography, and also his book Some People—a text whose imaginary (self)portraiture provoked her discussion of ‘The New Biography’ as well as contributing to the conception of Orlando.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0013
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This shorter chapter is a coda considering the afterlife of modernism's engagements with life‐writings covered in Part II. It begins by sketching how the ideas traced in this study of imaginary ...
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This shorter chapter is a coda considering the afterlife of modernism's engagements with life‐writings covered in Part II. It begins by sketching how the ideas traced in this study of imaginary portraiture, imaginary self‐portraiture, and aesthetic autobiography figure in experiments in life‐writing by two authors coming after modernism: Jean‐Paul Sartre in Les Mots, and Vladimir Nabokov in Speak, Memory. The second section sketches ways in which postmodernism has drawn upon and extended the tradition of experimentations with life‐writing. Here the emphasis is on metafictional strategies, especially those of auto/biografiction and imaginary authorship. Auto/biografiction can be understood as a strand of what Linda Hutcheon defines as ‘historiographic metafiction’, focusing on the representations of individual life stories rather than on representations of historical crises or trauma. Modernist works explicitly thematizing their own processes of representation (such as Orlando or The Autobiography of Alice B. Toklas) are reconsidered as pioneers of the postmodern development that might be termed ‘auto/biographic metafiction’. Key examples discussed are A. S. Byatt's Possession (as biographic metafiction); Doris Lessing's The Golden Notebook (as autobiographic metafiction) and Nabokov's Pale Fire (as auto/biographic metafiction). Where historiographic metafiction represents a postmodernizing of the historical novel, auto/biographic metafiction represents a postmodernizing of auto/biography.Less
This shorter chapter is a coda considering the afterlife of modernism's engagements with life‐writings covered in Part II. It begins by sketching how the ideas traced in this study of imaginary portraiture, imaginary self‐portraiture, and aesthetic autobiography figure in experiments in life‐writing by two authors coming after modernism: Jean‐Paul Sartre in Les Mots, and Vladimir Nabokov in Speak, Memory. The second section sketches ways in which postmodernism has drawn upon and extended the tradition of experimentations with life‐writing. Here the emphasis is on metafictional strategies, especially those of auto/biografiction and imaginary authorship. Auto/biografiction can be understood as a strand of what Linda Hutcheon defines as ‘historiographic metafiction’, focusing on the representations of individual life stories rather than on representations of historical crises or trauma. Modernist works explicitly thematizing their own processes of representation (such as Orlando or The Autobiography of Alice B. Toklas) are reconsidered as pioneers of the postmodern development that might be termed ‘auto/biographic metafiction’. Key examples discussed are A. S. Byatt's Possession (as biographic metafiction); Doris Lessing's The Golden Notebook (as autobiographic metafiction) and Nabokov's Pale Fire (as auto/biographic metafiction). Where historiographic metafiction represents a postmodernizing of the historical novel, auto/biographic metafiction represents a postmodernizing of auto/biography.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety ...
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This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.Less
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0008
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by ...
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This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by imaginary authors. It discusses Fernando Pessoa's practice of heteronymity. In this context a surprising reading of Joyce's Portrait is proposed, building on the presence in the work of Stephen Dedalus' writings (poem, journal etc.), to suggest that the entire book might be read as not just a case of free indirect style, with Joyce rendering Stephen's consciousness, but as possibly Joyce's impersonation of the autobiographical book Stephen might have written. Italo Svevo's Confessions of Zeno is proposed as a comparable example of a fictionally authored self‐portrait.Less
This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by imaginary authors. It discusses Fernando Pessoa's practice of heteronymity. In this context a surprising reading of Joyce's Portrait is proposed, building on the presence in the work of Stephen Dedalus' writings (poem, journal etc.), to suggest that the entire book might be read as not just a case of free indirect style, with Joyce rendering Stephen's consciousness, but as possibly Joyce's impersonation of the autobiographical book Stephen might have written. Italo Svevo's Confessions of Zeno is proposed as a comparable example of a fictionally authored self‐portrait.
Véronique Dasen
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199582570
- eISBN:
- 9780191595271
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582570.003.0006
- Subject:
- Classical Studies, European History: BCE to 500CE
Scattered and debated iconographical documents relate to the imagines maiorum, those wax portraits of office-holding ancestors which were kept in the homes of the elite. A number of plaster masks of ...
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Scattered and debated iconographical documents relate to the imagines maiorum, those wax portraits of office-holding ancestors which were kept in the homes of the elite. A number of plaster masks of children, often very young, have been found in tombs of the imperial period in Rome and in the provinces. These artefacts come from non-elite families and raise a number of questions relating to commemorative practices as well as to the status of children in lower social orders. Why and in what circumstances were these plaster moulds realized? On a living or a dead child? Was a wax or plaster portrait produced from these moulds? These unusual and little known funerary portraits allow us to revisit the need of memorials and the importance of mimesis in Roman society, and throw an unexpected light on the reworking of aristocratic imagery in freedmen's families.Less
Scattered and debated iconographical documents relate to the imagines maiorum, those wax portraits of office-holding ancestors which were kept in the homes of the elite. A number of plaster masks of children, often very young, have been found in tombs of the imperial period in Rome and in the provinces. These artefacts come from non-elite families and raise a number of questions relating to commemorative practices as well as to the status of children in lower social orders. Why and in what circumstances were these plaster moulds realized? On a living or a dead child? Was a wax or plaster portrait produced from these moulds? These unusual and little known funerary portraits allow us to revisit the need of memorials and the importance of mimesis in Roman society, and throw an unexpected light on the reworking of aristocratic imagery in freedmen's families.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This book explores how writers from the 1870s to the 1930s experimented with forms of life‐writing — biography, autobiography, memoir, diary, journal — increasingly for the purposes of fiction. It ...
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This book explores how writers from the 1870s to the 1930s experimented with forms of life‐writing — biography, autobiography, memoir, diary, journal — increasingly for the purposes of fiction. It argues for an upsurge in new hybrid forms — identified in a surprisingly early essay of 1906 (which provides a key term) as ‘autobiografiction’. Examples include ‘Mark Rutherford’, Gissing, Samuel Butler, Gosse, and A. C. Benson. The book offers a taxonomy of their extraordinary variety, showing how they arose as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography. It argues that a group of concepts, forms, and tropes regularly co‐exist: portraiture, imaginary portraits, collections of such portraits; and (because they are often of imaginary artists) imaginary works of art and literature. Autobiografiction also sheds strong light on modernism. Modernism is often characterized as a movement of ‘impersonality' — a rejection of auto/biography — but most of its major works engage in profound ways with questions of life‐writing. The second part looks at writers experimenting further with autobiografiction as impressionism turns into modernism, and consists of detailed readings of Joyce, Stein, Pound, Woolf, and others, and juxtaposing their work with contemporaries whose experiments with life‐writing forms are no less striking. It argues that connecting modernist games with auto/biography and the ‘New Biography’ with their turn‐of‐the‐century precursors allows them to be understood in a new way. A coda considers the after‐life of these experiments in postmodern fiction. A conclusion considers the theoretical implications developed throughout, and argues that ‘autobiografiction’ can also shed light on under‐theorized questions such as what we mean by ‘autobiographical’ and the relations between autobiography and fiction.Less
This book explores how writers from the 1870s to the 1930s experimented with forms of life‐writing — biography, autobiography, memoir, diary, journal — increasingly for the purposes of fiction. It argues for an upsurge in new hybrid forms — identified in a surprisingly early essay of 1906 (which provides a key term) as ‘autobiografiction’. Examples include ‘Mark Rutherford’, Gissing, Samuel Butler, Gosse, and A. C. Benson. The book offers a taxonomy of their extraordinary variety, showing how they arose as the pressures of secularization and psychological theory disturbed the categories of biography and autobiography. It argues that a group of concepts, forms, and tropes regularly co‐exist: portraiture, imaginary portraits, collections of such portraits; and (because they are often of imaginary artists) imaginary works of art and literature. Autobiografiction also sheds strong light on modernism. Modernism is often characterized as a movement of ‘impersonality' — a rejection of auto/biography — but most of its major works engage in profound ways with questions of life‐writing. The second part looks at writers experimenting further with autobiografiction as impressionism turns into modernism, and consists of detailed readings of Joyce, Stein, Pound, Woolf, and others, and juxtaposing their work with contemporaries whose experiments with life‐writing forms are no less striking. It argues that connecting modernist games with auto/biography and the ‘New Biography’ with their turn‐of‐the‐century precursors allows them to be understood in a new way. A coda considers the after‐life of these experiments in postmodern fiction. A conclusion considers the theoretical implications developed throughout, and argues that ‘autobiografiction’ can also shed light on under‐theorized questions such as what we mean by ‘autobiographical’ and the relations between autobiography and fiction.
R. A. H. Neave and A. J. N. W. Prag
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197262962
- eISBN:
- 9780191734533
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262962.003.0015
- Subject:
- Archaeology, Methodology and Techniques
This chapter discusses the role of the skull in forming the face and in identifying individuality, particularly in reconstructing ancient faces that bear semblance to the dead. Skulls serve as the ...
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This chapter discusses the role of the skull in forming the face and in identifying individuality, particularly in reconstructing ancient faces that bear semblance to the dead. Skulls serve as the armature of the face, where tissue, muscles and the skin are attached to form a distinct face. Whereas a surgeon removes layers of skin and tissue to reveal the skull, a medical artist builds each muscle in the skull by using well-established statistics for the flesh thickness and adds layers of clay for the skin. In general, the reconstruction of the face involves the use of a plaster cast replica of the skull. In such replicas, pegs are inserted to the cast to mark the thickness of the skull. In the whole process of face reconstruction, the skull, the medical and the pathological evidence provided by the skull and the post cranial skeleton dictate the formation of the face. In instances when the skull is absent or inaccessible, portraits found on the coffins are vital for reconstruction. While face reconstruction may seem simple, the process of reconstructing faces is a difficult task. Reconstruction of the face requires painstaking work, and knowledge of pathology, anatomy, dentistry and much more to build a case for history. Nevertheless, the painstaking work of face reconstruction is important in the field of forensics and in medical applications. Some of the cases of face reconstruction described in this chapter include the face reconstruction of Phillip II of Macedon, the face reconstruction of the Great Harwood case, the recreation of the faces of the Grave Gamma and the Seianti.Less
This chapter discusses the role of the skull in forming the face and in identifying individuality, particularly in reconstructing ancient faces that bear semblance to the dead. Skulls serve as the armature of the face, where tissue, muscles and the skin are attached to form a distinct face. Whereas a surgeon removes layers of skin and tissue to reveal the skull, a medical artist builds each muscle in the skull by using well-established statistics for the flesh thickness and adds layers of clay for the skin. In general, the reconstruction of the face involves the use of a plaster cast replica of the skull. In such replicas, pegs are inserted to the cast to mark the thickness of the skull. In the whole process of face reconstruction, the skull, the medical and the pathological evidence provided by the skull and the post cranial skeleton dictate the formation of the face. In instances when the skull is absent or inaccessible, portraits found on the coffins are vital for reconstruction. While face reconstruction may seem simple, the process of reconstructing faces is a difficult task. Reconstruction of the face requires painstaking work, and knowledge of pathology, anatomy, dentistry and much more to build a case for history. Nevertheless, the painstaking work of face reconstruction is important in the field of forensics and in medical applications. Some of the cases of face reconstruction described in this chapter include the face reconstruction of Phillip II of Macedon, the face reconstruction of the Great Harwood case, the recreation of the faces of the Grave Gamma and the Seianti.
Alf Linney, João Campos, and Ghassan Alusi
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197262962
- eISBN:
- 9780191734533
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262962.003.0016
- Subject:
- Archaeology, Methodology and Techniques
This chapter focuses on the reconstruction of the portrait mummy of Hermione, which was excavated in 1911. Hermione lived during the reign of the Roman emperor Tiberius and belonged to the Greek ...
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This chapter focuses on the reconstruction of the portrait mummy of Hermione, which was excavated in 1911. Hermione lived during the reign of the Roman emperor Tiberius and belonged to the Greek immigrants of ancient Egypt who were descendants of the soldiers who have fought Alexander the Great and the Ptolomies. Hermione is believed to have been a school teacher, as her coffin portrait bears the Greek inscription ‘Hermione grammatike’. To reconstruct the face of Hermione, x-ray imaging processes were first employed to gain vital information without moving the painted cartonnage and wrappings of the mummy. Computed tomography and CT scanning technology was also used to provide a measurement of the 3D distribution of x-ray absorption coefficients throughout the scanned volume. This more advanced form of scanning allowed for the creation of 3D reconstruction of the volume. For the 3D reconstruction of the face of Hermione, four methods were necessary. These were the acquisition of 3D data on what lies inside the wrappings, the 3D reconstruction of the skull, the reconstruction of the soft tissues over the skull, and the application of texture to the reconstructed facial surface.Less
This chapter focuses on the reconstruction of the portrait mummy of Hermione, which was excavated in 1911. Hermione lived during the reign of the Roman emperor Tiberius and belonged to the Greek immigrants of ancient Egypt who were descendants of the soldiers who have fought Alexander the Great and the Ptolomies. Hermione is believed to have been a school teacher, as her coffin portrait bears the Greek inscription ‘Hermione grammatike’. To reconstruct the face of Hermione, x-ray imaging processes were first employed to gain vital information without moving the painted cartonnage and wrappings of the mummy. Computed tomography and CT scanning technology was also used to provide a measurement of the 3D distribution of x-ray absorption coefficients throughout the scanned volume. This more advanced form of scanning allowed for the creation of 3D reconstruction of the volume. For the 3D reconstruction of the face of Hermione, four methods were necessary. These were the acquisition of 3D data on what lies inside the wrappings, the 3D reconstruction of the skull, the reconstruction of the soft tissues over the skull, and the application of texture to the reconstructed facial surface.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0010
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in ...
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This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.Less
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0011
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two ...
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This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two less equivocally satirical modernists by way of counter‐arguments to this objection. Wyndham Lewis's Time and Western Man contains some of the most forceful modernist attacks on the auto/biographic; yet Lewis offers the book as itself a kind of intellectual self‐portrait. Conversely, Richard Aldington's Soft Answers is read as a portrait‐collection, adopting modernist parodies of auto/biography in order to satirize modernists such as Eliot and Pound. It argues that (as in the case of Pound, and according to the argument introduced in the Preface) not only can satire be auto/biography, but auto/biography can also be satire. Indeed, Pound was shown in Chapter 9 to be writing both in verse; and in the Chapter 11 Woolf is shown to do both in prose. The chapter concludes with a discussion of how the First World War transformed the crisis in life ‐ writing.Less
This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two less equivocally satirical modernists by way of counter‐arguments to this objection. Wyndham Lewis's Time and Western Man contains some of the most forceful modernist attacks on the auto/biographic; yet Lewis offers the book as itself a kind of intellectual self‐portrait. Conversely, Richard Aldington's Soft Answers is read as a portrait‐collection, adopting modernist parodies of auto/biography in order to satirize modernists such as Eliot and Pound. It argues that (as in the case of Pound, and according to the argument introduced in the Preface) not only can satire be auto/biography, but auto/biography can also be satire. Indeed, Pound was shown in Chapter 9 to be writing both in verse; and in the Chapter 11 Woolf is shown to do both in prose. The chapter concludes with a discussion of how the First World War transformed the crisis in life ‐ writing.
TATIANA C. STRING
- Published in print:
- 2011
- Published Online:
- January 2013
- ISBN:
- 9780197264942
- eISBN:
- 9780191754111
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264942.003.0011
- Subject:
- History, British and Irish Modern History
This chapter explores a portrait of King Henry VIII that has played a key role in sustaining and inflecting received notions of the Tudor age in the post-Tudor period. It argues that almost without ...
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This chapter explores a portrait of King Henry VIII that has played a key role in sustaining and inflecting received notions of the Tudor age in the post-Tudor period. It argues that almost without exception the Tudorist visual representations of King Henry VIII from the mid-sixteenth to the twenty-first century derive their communicative force from, and were indeed only made possible because of, the existence of an extraordinarily compelling and efficacious point of origin. The portrait of Henry VIII that set this cascade of information, ideas, and associations about the king in motion was the full-length portrait from the Whitehall Mural, painted by Hans Holbein the Younger (1497–1543) in 1537.Less
This chapter explores a portrait of King Henry VIII that has played a key role in sustaining and inflecting received notions of the Tudor age in the post-Tudor period. It argues that almost without exception the Tudorist visual representations of King Henry VIII from the mid-sixteenth to the twenty-first century derive their communicative force from, and were indeed only made possible because of, the existence of an extraordinarily compelling and efficacious point of origin. The portrait of Henry VIII that set this cascade of information, ideas, and associations about the king in motion was the full-length portrait from the Whitehall Mural, painted by Hans Holbein the Younger (1497–1543) in 1537.
Bonnie J. Blackburn
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265277
- eISBN:
- 9780191754203
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265277.003.0007
- Subject:
- History, Cultural History
In his Lives, Giorgio Vasari mentions many artists who were talented at music when they were young, prominently Giorgione and Sebastiano del Piombo. Benvenuto Cellini resisted his father's pressure ...
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In his Lives, Giorgio Vasari mentions many artists who were talented at music when they were young, prominently Giorgione and Sebastiano del Piombo. Benvenuto Cellini resisted his father's pressure to choose music. Why? How rewarding was a musical profession in Renaissance Italy? It could be very lucrative, both for town musicians such as Cellini's father and for castratos. Moonlighting for banquets, dances, even spying, could bring in additional income. For gentlemen, music was a necessary social grace; they had private tutors, such as Silvestro Ganassi dal Fontego, who was himself a painter as well as a printer. Amateurs could learn from cathedral choirmasters, who were often music theorists, the pinnacle of the profession. The theorist Pietro Aaron, choirmaster at Imola Cathedral, then tutor to the sons of Sebastian Michiel, Grand Prior of the Knights of St John of Jerusalem in Venice, had a wide acquaintance among humanists, noblemen and other musicians, and his letters open a window on the life of a musician. Among his many professions, the writer Antonfrancesco Doni counted music; a madrigal he wrote in 1560 is included in an appendix. The ability to improvise verses and music was much prized, ranging from star performers such as Serafino Aquilano to amateurs such as Niccolò Machiavelli. Portraits of musicians are discussed; they offer important evidence but are difficult to interpret. The theorist Lodovico Zacconi concluded in 1592 that being a musician was not only an honourable and lucrative profession but an enjoyable one.Less
In his Lives, Giorgio Vasari mentions many artists who were talented at music when they were young, prominently Giorgione and Sebastiano del Piombo. Benvenuto Cellini resisted his father's pressure to choose music. Why? How rewarding was a musical profession in Renaissance Italy? It could be very lucrative, both for town musicians such as Cellini's father and for castratos. Moonlighting for banquets, dances, even spying, could bring in additional income. For gentlemen, music was a necessary social grace; they had private tutors, such as Silvestro Ganassi dal Fontego, who was himself a painter as well as a printer. Amateurs could learn from cathedral choirmasters, who were often music theorists, the pinnacle of the profession. The theorist Pietro Aaron, choirmaster at Imola Cathedral, then tutor to the sons of Sebastian Michiel, Grand Prior of the Knights of St John of Jerusalem in Venice, had a wide acquaintance among humanists, noblemen and other musicians, and his letters open a window on the life of a musician. Among his many professions, the writer Antonfrancesco Doni counted music; a madrigal he wrote in 1560 is included in an appendix. The ability to improvise verses and music was much prized, ranging from star performers such as Serafino Aquilano to amateurs such as Niccolò Machiavelli. Portraits of musicians are discussed; they offer important evidence but are difficult to interpret. The theorist Lodovico Zacconi concluded in 1592 that being a musician was not only an honourable and lucrative profession but an enjoyable one.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0002
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter begins with Walter Pater as a key figure, representing a gateway from impressionism to modernism and beyond. It discusses the implications of Pater's impressionist aesthetics for ...
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This chapter begins with Walter Pater as a key figure, representing a gateway from impressionism to modernism and beyond. It discusses the implications of Pater's impressionist aesthetics for autobiography and for modernist writers; and explores his investment in the form of the ‘Imaginary Portrait’ in literature, arguing that while Imaginary Portraits can be found in earlier writing, they become increasingly important for modernist engagements with life‐writing. The relation between Paterian subjectivity and Victorian subjectivism is discussed, together with his scepticism about the boundary between fact and imagination.Less
This chapter begins with Walter Pater as a key figure, representing a gateway from impressionism to modernism and beyond. It discusses the implications of Pater's impressionist aesthetics for autobiography and for modernist writers; and explores his investment in the form of the ‘Imaginary Portrait’ in literature, arguing that while Imaginary Portraits can be found in earlier writing, they become increasingly important for modernist engagements with life‐writing. The relation between Paterian subjectivity and Victorian subjectivism is discussed, together with his scepticism about the boundary between fact and imagination.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This is the first of four chapters exploring the turn‐of‐the‐century disturbances in the relation between life‐writing and fiction. It argues that ‘autobiography’ begins to seem a problematic ...
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This is the first of four chapters exploring the turn‐of‐the‐century disturbances in the relation between life‐writing and fiction. It argues that ‘autobiography’ begins to seem a problematic category in the period, and gets displaced towards fiction. The chapter focuses on ‘Mark Rutherford’, not just for his autobiography, but for his later inclusion of the story ‘A Mysterious Portrait’. The concept of the heteronym is introduced, to be developed in Chapters 7 and Chapter 8. Other authors discussed here include George Gissing (The Private Papers of Henry Ryecroft), H. G. Wells (Boon), Henry Adams, Samuel Butler (The Way of All Flesh), and Edmund Gosse (Father and Son). The various displacements of auto/biography are shown to complicate Lejeune's concept of the autobiographic contract guaranteeing the identity of author, narrator, and subject.Less
This is the first of four chapters exploring the turn‐of‐the‐century disturbances in the relation between life‐writing and fiction. It argues that ‘autobiography’ begins to seem a problematic category in the period, and gets displaced towards fiction. The chapter focuses on ‘Mark Rutherford’, not just for his autobiography, but for his later inclusion of the story ‘A Mysterious Portrait’. The concept of the heteronym is introduced, to be developed in Chapters 7 and Chapter 8. Other authors discussed here include George Gissing (The Private Papers of Henry Ryecroft), H. G. Wells (Boon), Henry Adams, Samuel Butler (The Way of All Flesh), and Edmund Gosse (Father and Son). The various displacements of auto/biography are shown to complicate Lejeune's concept of the autobiographic contract guaranteeing the identity of author, narrator, and subject.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0009
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It ...
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This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.Less
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.
Ned Schantz
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195335910
- eISBN:
- 9780199868902
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335910.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies, Women's Literature
With attention to major incarnations of the British novel, this chapter positions gossip as the central, disavowed source of interest in novelistic discourse. Reading Emma and The Portrait of a Lady ...
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With attention to major incarnations of the British novel, this chapter positions gossip as the central, disavowed source of interest in novelistic discourse. Reading Emma and The Portrait of a Lady closely, it tracks the seduction of the reader into gendered habits of scapegoating and sadism that characterize gossip at its worst. To counteract these dynamics, the chapter mobilizes untapped textual resources toward a more generous feminist mode of gossip, and thereby challenges conventional assumptions about character and plot from the status of Mrs. Elton to the fate of Isabel Archer.Less
With attention to major incarnations of the British novel, this chapter positions gossip as the central, disavowed source of interest in novelistic discourse. Reading Emma and The Portrait of a Lady closely, it tracks the seduction of the reader into gendered habits of scapegoating and sadism that characterize gossip at its worst. To counteract these dynamics, the chapter mobilizes untapped textual resources toward a more generous feminist mode of gossip, and thereby challenges conventional assumptions about character and plot from the status of Mrs. Elton to the fate of Isabel Archer.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0086
- Subject:
- Music, History, Western
In making a choral suite out of the poems for the Five Tudor Portraits of John Skelton, Ralph Vaughan Williams ventured to take some liberties with the text. Certain omissions have been made ...
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In making a choral suite out of the poems for the Five Tudor Portraits of John Skelton, Ralph Vaughan Williams ventured to take some liberties with the text. Certain omissions have been made necessary, partly by the great length of the original, partly from the fact that certain passages did not lend themselves to musical treatment, and partly that certain lines that look well when read cannot conveniently be sung. Williams changed the order of the lines; this seems legitimate, as there does not appear to be an inevitable sequence in Skelton's original order. This fusion is, he hopes, justified by the fact that the character who sings the song in the play has immediately before quoted a line from “Jolly Rutterkin.” The setting is for baritone solo and chorus.Less
In making a choral suite out of the poems for the Five Tudor Portraits of John Skelton, Ralph Vaughan Williams ventured to take some liberties with the text. Certain omissions have been made necessary, partly by the great length of the original, partly from the fact that certain passages did not lend themselves to musical treatment, and partly that certain lines that look well when read cannot conveniently be sung. Williams changed the order of the lines; this seems legitimate, as there does not appear to be an inevitable sequence in Skelton's original order. This fusion is, he hopes, justified by the fact that the character who sings the song in the play has immediately before quoted a line from “Jolly Rutterkin.” The setting is for baritone solo and chorus.
Stephen G. Miller
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9780520258334
- eISBN:
- 9780520943599
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520258334.003.0008
- Subject:
- Classical Studies, Ancient Greek, Roman, and Early Christian Philosophy
This chapter considers the Berkeley portrait in the context of the other identified portraits of Plato. Two details of particular interest are to be observed on the Berkeley Plato. First, the ears ...
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This chapter considers the Berkeley portrait in the context of the other identified portraits of Plato. Two details of particular interest are to be observed on the Berkeley Plato. First, the ears are not the same, for the left ear has an enlarged, puffy lobe that suggests mistreatment resulting in disfiguration. This same disfiguration of the left ear also occurs in other extant portraits, as for example the Berlin Plato, The second detail is that the ears are not placed symmetrically. Whereas the left, puffy-lobed ear is essentially vertical, the right slopes backward at the top in a very pronounced fashion. This detail appears on many other Plato portraits, as for example on the Cambridge and Copenhagen heads. Finally, people are told that Plato was good-looking, with beautiful eyes, a finely shaped nose, and a modest demeanor. The Berkeley Plato certainly fills those specifications.Less
This chapter considers the Berkeley portrait in the context of the other identified portraits of Plato. Two details of particular interest are to be observed on the Berkeley Plato. First, the ears are not the same, for the left ear has an enlarged, puffy lobe that suggests mistreatment resulting in disfiguration. This same disfiguration of the left ear also occurs in other extant portraits, as for example the Berlin Plato, The second detail is that the ears are not placed symmetrically. Whereas the left, puffy-lobed ear is essentially vertical, the right slopes backward at the top in a very pronounced fashion. This detail appears on many other Plato portraits, as for example on the Cambridge and Copenhagen heads. Finally, people are told that Plato was good-looking, with beautiful eyes, a finely shaped nose, and a modest demeanor. The Berkeley Plato certainly fills those specifications.
