Karen Chase
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199564361
- eISBN:
- 9780191722592
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199564361.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
This book examines old age as it was culturally constructed in the 19th century. It begins with the agitated relations set in motion when the increasing number of elderly people unable to provide ...
More
This book examines old age as it was culturally constructed in the 19th century. It begins with the agitated relations set in motion when the increasing number of elderly people unable to provide adequately for themselves found it necessary to contend with sciences which would classify them, arts which would represent them, and a state which was slow to adopt measures of support. The book analyzes illuminating moments in these relations which are displayed variously in narrative form, social policy and cultural attitudes. It considers the centrality of institutions and of the generational divide; it traces the power and powerlessness of age through a range of characters and individuals as distinct from one another as Dickens's inebriated nurse, Sairey Gamp, to the sober Queen Victoria; it studies specific narrative forms for expressing heightened emotions attached to aging and the complexities of representing age in pictorial and statistical “portraits.” The chapters are organized around major literary works set alongside episodes and artifacts, diaries and memoirs, images and inscriptions, that produced (and now illuminate) the construction of old age through Victoria's long reign. The argument demonstrates that if old age became for the Victorians such a conspicuous public topic and problem, it also became an intensely private preoccupation. The social formation of old age created terms, images, and narratives that lone individuals used to fashion the stories of their lives. The book is intent to respect the specificity of aging: not only the wide diversities of circumstance (rich and poor, urban and rural, watched and forgotten, powerful and dispossessed) but also the distinct acts of representation by novelists, painters, journalists, sociologists and diary-keepers.Less
This book examines old age as it was culturally constructed in the 19th century. It begins with the agitated relations set in motion when the increasing number of elderly people unable to provide adequately for themselves found it necessary to contend with sciences which would classify them, arts which would represent them, and a state which was slow to adopt measures of support. The book analyzes illuminating moments in these relations which are displayed variously in narrative form, social policy and cultural attitudes. It considers the centrality of institutions and of the generational divide; it traces the power and powerlessness of age through a range of characters and individuals as distinct from one another as Dickens's inebriated nurse, Sairey Gamp, to the sober Queen Victoria; it studies specific narrative forms for expressing heightened emotions attached to aging and the complexities of representing age in pictorial and statistical “portraits.” The chapters are organized around major literary works set alongside episodes and artifacts, diaries and memoirs, images and inscriptions, that produced (and now illuminate) the construction of old age through Victoria's long reign. The argument demonstrates that if old age became for the Victorians such a conspicuous public topic and problem, it also became an intensely private preoccupation. The social formation of old age created terms, images, and narratives that lone individuals used to fashion the stories of their lives. The book is intent to respect the specificity of aging: not only the wide diversities of circumstance (rich and poor, urban and rural, watched and forgotten, powerful and dispossessed) but also the distinct acts of representation by novelists, painters, journalists, sociologists and diary-keepers.
Susan Jones
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184485
- eISBN:
- 9780191674273
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184485.003.0010
- Subject:
- Literature, European Literature, 20th-century Literature and Modernism
This closing chapter demonstrates the importance of women's writing, women readers, female portraiture, and the relationship of text and illustration in the serialized novels in shaping Conrad's ...
More
This closing chapter demonstrates the importance of women's writing, women readers, female portraiture, and the relationship of text and illustration in the serialized novels in shaping Conrad's later fiction. It draws attention to the re-emergence of Marguerite Poradowska's influence, and how, in the late work in particular, Conrad exploited the techniques of traditional forms in order to question the structures of romance which continued to confine and classify women.Less
This closing chapter demonstrates the importance of women's writing, women readers, female portraiture, and the relationship of text and illustration in the serialized novels in shaping Conrad's later fiction. It draws attention to the re-emergence of Marguerite Poradowska's influence, and how, in the late work in particular, Conrad exploited the techniques of traditional forms in order to question the structures of romance which continued to confine and classify women.
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 ...
More
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.
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 ...
More
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.
John Boardman
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691181752
- eISBN:
- 9780691184043
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691181752.003.0004
- Subject:
- History, Ancient History / Archaeology
This chapter explores how Alexander's life and experiences, real and imagined, were always ready subjects for illustration. As time passed, conventions for showing him and his deeds developed from ...
More
This chapter explores how Alexander's life and experiences, real and imagined, were always ready subjects for illustration. As time passed, conventions for showing him and his deeds developed from the probably real, of his lifetime, to the imaginary but based on exaggeration of the “real,” to the totally fanciful. Lifelike portraiture had appeared first in Greek art in the later part of the fifth century BC—possibly first among the Greeks of Asia Minor, to judge from coinage. In an Asia Minor ruled by Persians the idea of a royal or ruler portrait was more acceptable, and might be used on coins of Greek type being made for Persian governors. Alexander was royal and non-Greek, and so a safe subject.Less
This chapter explores how Alexander's life and experiences, real and imagined, were always ready subjects for illustration. As time passed, conventions for showing him and his deeds developed from the probably real, of his lifetime, to the imaginary but based on exaggeration of the “real,” to the totally fanciful. Lifelike portraiture had appeared first in Greek art in the later part of the fifth century BC—possibly first among the Greeks of Asia Minor, to judge from coinage. In an Asia Minor ruled by Persians the idea of a royal or ruler portrait was more acceptable, and might be used on coins of Greek type being made for Persian governors. Alexander was royal and non-Greek, and so a safe subject.
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/9780199564361.003.0006
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
Under the rubric of ‘portraiture’ Chapters 5 and 6 examine images of the elderly in analytic or narrative prose, in the fine arts, and in popular representations in an attempt to analyze the ...
More
Under the rubric of ‘portraiture’ Chapters 5 and 6 examine images of the elderly in analytic or narrative prose, in the fine arts, and in popular representations in an attempt to analyze the collective self-understanding of age. This chapter begins with Oscar Wilde's delineation of the science of aging and the art of staying young. The Picture of Dorian Gray reflects the impulse to join science with art, and within that attempt, to depict aging as a desirable part of all aesthetic activity. The controversy surrounding cremation illuminates the inter-relations between science, art, and politics. A turn then to the visual arts, and especially to the paintings of Hubert Herkomer, serves as the occasion to discuss the visual design of generational life. By associating literature with the fine arts the aesthetic of old age which emerged at the end of the century becomes clear.Less
Under the rubric of ‘portraiture’ Chapters 5 and 6 examine images of the elderly in analytic or narrative prose, in the fine arts, and in popular representations in an attempt to analyze the collective self-understanding of age. This chapter begins with Oscar Wilde's delineation of the science of aging and the art of staying young. The Picture of Dorian Gray reflects the impulse to join science with art, and within that attempt, to depict aging as a desirable part of all aesthetic activity. The controversy surrounding cremation illuminates the inter-relations between science, art, and politics. A turn then to the visual arts, and especially to the paintings of Hubert Herkomer, serves as the occasion to discuss the visual design of generational life. By associating literature with the fine arts the aesthetic of old age which emerged at the end of the century becomes clear.
Janet Clare (ed.)
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780719089688
- eISBN:
- 9781526135872
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719089688.001.0001
- Subject:
- Literature, Criticism/Theory
This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and ...
More
This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and cultural conditions before and after the restoration of church and monarchy. The volume marks a significant development in transdisciplinary studies, including, as it does, chapters on political theory, religion, poetry, pamphlets, theatre, opera, portraiture, scientific experiment and philosophy. Chapters show how unresolved issues at national and local level, residual republicanism and religious dissent, were evident in many areas of Restoration life, and recorded in plots against the regime, memoirs, diaries, historical writing, pamphlets and poems. An active promotion of forgetting, the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the civil wars. In examining such diverse genres as women’s writing, the prayer book, prophetic writings, the publications of the Royal Society, histories of the civil wars by Clarendon and Hobbes, the poetry and prose of Milton and Marvell, plays and opera, court portraiture and political cartoons the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses.Less
This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and cultural conditions before and after the restoration of church and monarchy. The volume marks a significant development in transdisciplinary studies, including, as it does, chapters on political theory, religion, poetry, pamphlets, theatre, opera, portraiture, scientific experiment and philosophy. Chapters show how unresolved issues at national and local level, residual republicanism and religious dissent, were evident in many areas of Restoration life, and recorded in plots against the regime, memoirs, diaries, historical writing, pamphlets and poems. An active promotion of forgetting, the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the civil wars. In examining such diverse genres as women’s writing, the prayer book, prophetic writings, the publications of the Royal Society, histories of the civil wars by Clarendon and Hobbes, the poetry and prose of Milton and Marvell, plays and opera, court portraiture and political cartoons the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses.
Willard Spiegelman
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195332926
- eISBN:
- 9780199851294
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195332926.003.0004
- Subject:
- Literature, Poetry
This chapter discusses Charles Wright's works and the use of landscape as his subject. Wright's poetry oddly combines particularity of observation, discreteness of detail and diction, with the haze ...
More
This chapter discusses Charles Wright's works and the use of landscape as his subject. Wright's poetry oddly combines particularity of observation, discreteness of detail and diction, with the haze or disjunctions caused by lineation, transitions, and other gestures that mimic the mind's transactions with external reality. This chapter defines him much more through his use of context, place, situation, anecdote, and natural description than through any even momentarily overt confessions. Framing himself within a recollected or perceived landscape, he enacts a pilgrimage toward self-portraiture by painting himself into the landscape. In The Southern Cross, five poems entitled “Self-Portrait,” along with “Portrait of the Artist with Hart Crane” and “Portrait of the Artist with Li Po,” impart a vision of Wright, the man and the poet, just at the moment before he transforms his style from the stanzaic poems of the earlier volumes to the jagged, long-lined meditations of the journals.Less
This chapter discusses Charles Wright's works and the use of landscape as his subject. Wright's poetry oddly combines particularity of observation, discreteness of detail and diction, with the haze or disjunctions caused by lineation, transitions, and other gestures that mimic the mind's transactions with external reality. This chapter defines him much more through his use of context, place, situation, anecdote, and natural description than through any even momentarily overt confessions. Framing himself within a recollected or perceived landscape, he enacts a pilgrimage toward self-portraiture by painting himself into the landscape. In The Southern Cross, five poems entitled “Self-Portrait,” along with “Portrait of the Artist with Hart Crane” and “Portrait of the Artist with Li Po,” impart a vision of Wright, the man and the poet, just at the moment before he transforms his style from the stanzaic poems of the earlier volumes to the jagged, long-lined meditations of the journals.
Steven Rendall
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198151807
- eISBN:
- 9780191672842
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151807.003.0006
- Subject:
- Literature, European Literature, 16th-century and Renaissance Literature
This chapter examines Montaigne's treatment of non-verbal signs, and suggests that his conception of the Essais as a self-portrait is linked to an attempt to limit the diversity of meaning by ...
More
This chapter examines Montaigne's treatment of non-verbal signs, and suggests that his conception of the Essais as a self-portrait is linked to an attempt to limit the diversity of meaning by anchoring it in the body and, more specifically, in the face. Because of its complexity, the metaphor of self-portraiture tends to simplify the problems of linguistic representation and even to suggest that the face may provide a stable foundation for referential language in general. It offers a way of reducing the difference between words and things by suggesting that at least in this special case they are linked by an inherent analogy. It is one reason not only for Montaigne's occasional recourse to this metaphor, but also for the privilege accorded it by his readers down to the present day.Less
This chapter examines Montaigne's treatment of non-verbal signs, and suggests that his conception of the Essais as a self-portrait is linked to an attempt to limit the diversity of meaning by anchoring it in the body and, more specifically, in the face. Because of its complexity, the metaphor of self-portraiture tends to simplify the problems of linguistic representation and even to suggest that the face may provide a stable foundation for referential language in general. It offers a way of reducing the difference between words and things by suggesting that at least in this special case they are linked by an inherent analogy. It is one reason not only for Montaigne's occasional recourse to this metaphor, but also for the privilege accorded it by his readers down to the present day.
Robert Tittler
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198207184
- eISBN:
- 9780191677540
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207184.001.0001
- Subject:
- History, British and Irish Early Modern History
This analysis of the secular impact of the Reformation examines the changes within English towns over the period c.1540–1640. All over England wholesale shifts of ...
More
This analysis of the secular impact of the Reformation examines the changes within English towns over the period c.1540–1640. All over England wholesale shifts of urban land and resources, coupled with increased statutory responsibilities, allowed a surprising number of towns to strengthen their financial and political positions. The Reformation had already begun to destroy much of the doctrine-based political culture that traditionally sustained provincial governments. As a result, the ruling elites in many towns not only extended their holdings and acquired greater autonomy; they also gained much greater institutional authority over their inhabitants—part of a growing movement away from communal values towards rule by oligarchy. These elites sought to legitimise their new authority by various means: civic portraiture and regalia, the building of town-halls, the writing of local histories, and the creation of new forms of worship. An altered civic ethos emerged, marking a significant new phase in urban history.Less
This analysis of the secular impact of the Reformation examines the changes within English towns over the period c.1540–1640. All over England wholesale shifts of urban land and resources, coupled with increased statutory responsibilities, allowed a surprising number of towns to strengthen their financial and political positions. The Reformation had already begun to destroy much of the doctrine-based political culture that traditionally sustained provincial governments. As a result, the ruling elites in many towns not only extended their holdings and acquired greater autonomy; they also gained much greater institutional authority over their inhabitants—part of a growing movement away from communal values towards rule by oligarchy. These elites sought to legitimise their new authority by various means: civic portraiture and regalia, the building of town-halls, the writing of local histories, and the creation of new forms of worship. An altered civic ethos emerged, marking a significant new phase in urban history.
Lawrence Rosen
- Published in print:
- 2008
- Published Online:
- March 2013
- ISBN:
- 9780226726168
- eISBN:
- 9780226726182
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226726182.001.0001
- Subject:
- Anthropology, Middle Eastern Cultural Anthropology
This book focuses on Arab Muslims and aspects of their lives that are, at first glance, perplexing to Westerners. It ranges over such diverse topics as why Arabs eschew portraiture, why a Muslim ...
More
This book focuses on Arab Muslims and aspects of their lives that are, at first glance, perplexing to Westerners. It ranges over such diverse topics as why Arabs eschew portraiture, why a Muslim scientist might be attracted to fundamentalism, and why the Prophet must be protected from blasphemous cartoons. What connects these seemingly disparate features of Arab social, political, and cultural life? The book argues that the common thread is the importance Arabs place on the negotiation of interpersonal relationships—a link that helps to explain actions as seemingly unfathomable as suicide bombing and as elusive as the interpretation of the Quran.Less
This book focuses on Arab Muslims and aspects of their lives that are, at first glance, perplexing to Westerners. It ranges over such diverse topics as why Arabs eschew portraiture, why a Muslim scientist might be attracted to fundamentalism, and why the Prophet must be protected from blasphemous cartoons. What connects these seemingly disparate features of Arab social, political, and cultural life? The book argues that the common thread is the importance Arabs place on the negotiation of interpersonal relationships—a link that helps to explain actions as seemingly unfathomable as suicide bombing and as elusive as the interpretation of the Quran.
Jasmine Nichole Cobb
- Published in print:
- 2015
- Published Online:
- March 2016
- ISBN:
- 9781479817221
- eISBN:
- 9781479830619
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479817221.001.0001
- Subject:
- Society and Culture, Cultural Studies
In the decades leading up to the end of U.S. slavery, many free Blacks sat for daguerreotypes decorated in fine garments to document their self-possession. People pictured in these early photographs ...
More
In the decades leading up to the end of U.S. slavery, many free Blacks sat for daguerreotypes decorated in fine garments to document their self-possession. People pictured in these early photographs used portraiture to seize control over representation of the free Black body and reimagine Black visuality divorced from the cultural logics of slavery. This book analyzes the ways in which the circulation of various images prepared free Blacks and free Whites for the emancipation of formerly unfree people of African descent. It traces the emergence of Black freedom as both an idea and as an image during the early nineteenth century. Through an analysis of popular culture of the period—including amateur portraiture, racial caricatures, joke books, antislavery newspapers, abolitionist materials, runaway advertisements, ladies' magazines, and scrapbooks, as well as scenic wallpaper—the book explores the earliest illustrations of free Blacks and reveals the complicated route through visual culture toward a vision of African American citizenship. It reveals how these depictions contributed to public understandings of nationhood, among both domestic eyes and the larger Atlantic world.Less
In the decades leading up to the end of U.S. slavery, many free Blacks sat for daguerreotypes decorated in fine garments to document their self-possession. People pictured in these early photographs used portraiture to seize control over representation of the free Black body and reimagine Black visuality divorced from the cultural logics of slavery. This book analyzes the ways in which the circulation of various images prepared free Blacks and free Whites for the emancipation of formerly unfree people of African descent. It traces the emergence of Black freedom as both an idea and as an image during the early nineteenth century. Through an analysis of popular culture of the period—including amateur portraiture, racial caricatures, joke books, antislavery newspapers, abolitionist materials, runaway advertisements, ladies' magazines, and scrapbooks, as well as scenic wallpaper—the book explores the earliest illustrations of free Blacks and reveals the complicated route through visual culture toward a vision of African American citizenship. It reveals how these depictions contributed to public understandings of nationhood, among both domestic eyes and the larger Atlantic world.
Klaus Hentschel
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780198509530
- eISBN:
- 9780191709050
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198509530.003.0004
- Subject:
- Physics, Atomic, Laser, and Optical Physics
Starting with the older techniques of copper engraving and etching, this chapter examines the radical impact of new techniques such as lithography, color lithography on up to six different stones. ...
More
Starting with the older techniques of copper engraving and etching, this chapter examines the radical impact of new techniques such as lithography, color lithography on up to six different stones. Woodcuts and other more schematic and symbolic techniques of recording spectra as well as the art of spectrum portraiture practiced by specialized draughtsmen are documented.Less
Starting with the older techniques of copper engraving and etching, this chapter examines the radical impact of new techniques such as lithography, color lithography on up to six different stones. Woodcuts and other more schematic and symbolic techniques of recording spectra as well as the art of spectrum portraiture practiced by specialized draughtsmen are documented.
Robert Tittler
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198207184
- eISBN:
- 9780191677540
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207184.003.0013
- Subject:
- History, British and Irish Early Modern History
The concept of a collective memory is well-established by studies in a number of disciplines, and it has a variety of applications to European ...
More
The concept of a collective memory is well-established by studies in a number of disciplines, and it has a variety of applications to European communities after the Reformation. In turn, this chapter takes up the invocation of the past as an element in the urban political culture of this age. It discusses several disparate but highly indicative issues. First is the emphasis on the use of civic regalia, a means of inculcating a civic and secular ceremonial in place of the traditional, doctrinally associated ritual of the pre-Reformation era. Another is the appeal to historical mythology with particular associations of place, especially mythologies of foundation. The third is the use of written record and the changing attitudes towards its function and care. And lastly, it considers the visual but non-written record as preserved in mayoral and aldermanic portraiture.Less
The concept of a collective memory is well-established by studies in a number of disciplines, and it has a variety of applications to European communities after the Reformation. In turn, this chapter takes up the invocation of the past as an element in the urban political culture of this age. It discusses several disparate but highly indicative issues. First is the emphasis on the use of civic regalia, a means of inculcating a civic and secular ceremonial in place of the traditional, doctrinally associated ritual of the pre-Reformation era. Another is the appeal to historical mythology with particular associations of place, especially mythologies of foundation. The third is the use of written record and the changing attitudes towards its function and care. And lastly, it considers the visual but non-written record as preserved in mayoral and aldermanic portraiture.
Zeynep Devrim Gürsel
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780520286368
- eISBN:
- 9780520961616
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520286368.003.0003
- Subject:
- Society and Culture, Media Studies
This chapter looks at the news and editorial division of Global Views Inc. (GVI), one of the largest corporate visual content providers, on the brink of the US invasion of Iraq in 2003. It follows ...
More
This chapter looks at the news and editorial division of Global Views Inc. (GVI), one of the largest corporate visual content providers, on the brink of the US invasion of Iraq in 2003. It follows the fast paced work of Jackie, a photo editor at GVI, and other image brokers as they negotiate with photographers and publications. News images represent a mere fraction of the profits generated by selling visual content such as celebrity portraiture and stock photos. GVI produces no journalistic text and is not a news organization; hence this chapter looks at image brokers working to produce and circulate images as content for other professionals.Less
This chapter looks at the news and editorial division of Global Views Inc. (GVI), one of the largest corporate visual content providers, on the brink of the US invasion of Iraq in 2003. It follows the fast paced work of Jackie, a photo editor at GVI, and other image brokers as they negotiate with photographers and publications. News images represent a mere fraction of the profits generated by selling visual content such as celebrity portraiture and stock photos. GVI produces no journalistic text and is not a news organization; hence this chapter looks at image brokers working to produce and circulate images as content for other professionals.
Hudita Nura Mustafa
- Published in print:
- 2002
- Published Online:
- March 2012
- ISBN:
- 9780520229488
- eISBN:
- 9780520927292
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520229488.003.0007
- Subject:
- History, World Modern History
This chapter examines the creation and distribution of popular photographic portraiture in Dakar. It shows how bodies and selves, once subjugated within a colonial imaginary, have been reclaimed and ...
More
This chapter examines the creation and distribution of popular photographic portraiture in Dakar. It shows how bodies and selves, once subjugated within a colonial imaginary, have been reclaimed and reformed through postcolonial strategies of self-invention. It discusses the transformations of Dakar from cosmopolitan showpiece to site of socioeconomic collapse and argues that the practices of portraiture subverts the colonial male gaze with its own techniques and reframes the feminine body.Less
This chapter examines the creation and distribution of popular photographic portraiture in Dakar. It shows how bodies and selves, once subjugated within a colonial imaginary, have been reclaimed and reformed through postcolonial strategies of self-invention. It discusses the transformations of Dakar from cosmopolitan showpiece to site of socioeconomic collapse and argues that the practices of portraiture subverts the colonial male gaze with its own techniques and reframes the feminine body.
Joshua S. Walden
- Published in print:
- 2018
- Published Online:
- December 2017
- ISBN:
- 9780190653507
- eISBN:
- 9780190653538
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190653507.001.0001
- Subject:
- Music, Theory, Analysis, Composition, History, Western
This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in ...
More
This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.Less
This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.
Dorothy Stringer
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780823231478
- eISBN:
- 9780823241088
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823231478.003.0006
- Subject:
- Literature, African-American Literature
Photography, for important modern and contemporary cultural theorists, is strongly associated with psychological shock. Benjamin's theoretical account of photography, therefore, directly analogizes ...
More
Photography, for important modern and contemporary cultural theorists, is strongly associated with psychological shock. Benjamin's theoretical account of photography, therefore, directly analogizes photographic criticism to psychoanalysis, suggesting that photographs reveal an “optical unconscious” to the attentive viewer. Van Vechten's portraits integrally relate the “political meaning of shock effects” to the interpenetration of psychic trauma and public identification in the portrait genre. Portraiture represents a particularly rich ground for “becoming unintelligible,” since the genre conventionally equates the representation to the person's social existence. Gertrude Stein recognized as much when she dedicated her 1934 collection Portraits and Prayers to Van Vechten. Photographic fetishism often had a specific engagement with racial blackness. Photographic shock in his work is neither an objective trace of reality.Less
Photography, for important modern and contemporary cultural theorists, is strongly associated with psychological shock. Benjamin's theoretical account of photography, therefore, directly analogizes photographic criticism to psychoanalysis, suggesting that photographs reveal an “optical unconscious” to the attentive viewer. Van Vechten's portraits integrally relate the “political meaning of shock effects” to the interpenetration of psychic trauma and public identification in the portrait genre. Portraiture represents a particularly rich ground for “becoming unintelligible,” since the genre conventionally equates the representation to the person's social existence. Gertrude Stein recognized as much when she dedicated her 1934 collection Portraits and Prayers to Van Vechten. Photographic fetishism often had a specific engagement with racial blackness. Photographic shock in his work is neither an objective trace of reality.
Harry Berger
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9780823225569
- eISBN:
- 9780823240937
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823225569.001.0001
- Subject:
- Literature, European Literature
A study of the theory and practice of seventeenth-century Dutch group portraits, this book offers an account of the genre's comic and ironic features, which it treats as comments on the social ...
More
A study of the theory and practice of seventeenth-century Dutch group portraits, this book offers an account of the genre's comic and ironic features, which it treats as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. The introduction picks out anomalous touches with which Rembrandt problematizes standard group-portrait motifs in The Night Watch: a shooter who fires his musket into the company; two girls who appear to be moving through the company in the wrong direction; guardsmen who appear to be paying little or no attention to their leader's enthusiastic gesture of command. Were the patrons and sitters aware of or even complicit in staging the anomalies? If not, did the painter get away with a subversive parody of militia portrait conventions at the sitters' expense? Parts One and Two respond to these questions at several levels: first, by analyzing the aesthetic structure of group portraiture as a genre; second, by reviewing the conflicting accounts modern scholars give of the civic guard company as an institution; third, by marking the effect on civic guardsmen of a mercantile economy that relied heavily on wives and mothers to keep the home fires burning. Two phenomena persistently recur in the portraits under discussion: competitive posing and performance anxiety. Part Three studies these phenomena in portraits of married couples and families. Finally, Part Four examines them in The Night Watch in the light of the first three parts.Less
A study of the theory and practice of seventeenth-century Dutch group portraits, this book offers an account of the genre's comic and ironic features, which it treats as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. The introduction picks out anomalous touches with which Rembrandt problematizes standard group-portrait motifs in The Night Watch: a shooter who fires his musket into the company; two girls who appear to be moving through the company in the wrong direction; guardsmen who appear to be paying little or no attention to their leader's enthusiastic gesture of command. Were the patrons and sitters aware of or even complicit in staging the anomalies? If not, did the painter get away with a subversive parody of militia portrait conventions at the sitters' expense? Parts One and Two respond to these questions at several levels: first, by analyzing the aesthetic structure of group portraiture as a genre; second, by reviewing the conflicting accounts modern scholars give of the civic guard company as an institution; third, by marking the effect on civic guardsmen of a mercantile economy that relied heavily on wives and mothers to keep the home fires burning. Two phenomena persistently recur in the portraits under discussion: competitive posing and performance anxiety. Part Three studies these phenomena in portraits of married couples and families. Finally, Part Four examines them in The Night Watch in the light of the first three parts.
Catherine Maxwell
- Published in print:
- 2008
- Published Online:
- July 2012
- ISBN:
- 9780719071447
- eISBN:
- 9781781701096
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719071447.003.0006
- Subject:
- Literature, Poetry
This chapter begins with an examination of Hardy's ‘spiritual or second sight’, his ‘power of the imagination in exalting’ visible objects so that they become uncanny, quasi-ghostly versions of ...
More
This chapter begins with an examination of Hardy's ‘spiritual or second sight’, his ‘power of the imagination in exalting’ visible objects so that they become uncanny, quasi-ghostly versions of themselves. It shows how his imaginative investment in ‘the other side’ and his profound interest in spectres, shades and shadows figuratively illustrate his pronouncements on art and literature, and that, for him, writing, particularly poetry, is a domain especially suited to ghosts and spirits, being a realm of refined essences. The final part of the chapter looks at forms of shadow portraiture in Hardy's poetry that bridge the relation between the phenomenal and the visionary, relates these forms of portraiture to the Romantic fragment and synecdoche and considers their relation to loss, especially the theme of the lost woman, where death acts as a stimulant to vision.Less
This chapter begins with an examination of Hardy's ‘spiritual or second sight’, his ‘power of the imagination in exalting’ visible objects so that they become uncanny, quasi-ghostly versions of themselves. It shows how his imaginative investment in ‘the other side’ and his profound interest in spectres, shades and shadows figuratively illustrate his pronouncements on art and literature, and that, for him, writing, particularly poetry, is a domain especially suited to ghosts and spirits, being a realm of refined essences. The final part of the chapter looks at forms of shadow portraiture in Hardy's poetry that bridge the relation between the phenomenal and the visionary, relates these forms of portraiture to the Romantic fragment and synecdoche and considers their relation to loss, especially the theme of the lost woman, where death acts as a stimulant to vision.
