Late Victorian visual reasoning and Alfred Marshall's economic science

2005 ◽  
Vol 38 (2) ◽  
pp. 179-195 ◽  
Author(s):  
SIMON COOK
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Industrial Production ◽  
Economic Science ◽  
Teaching And Research ◽  
Political Economist ◽  
History Of ◽  
Visual Technologies

Today the economic diagram is employed universally in teaching and research by professional economists. Yet the history of its construction shows that much that has been regarded as distinctive of twentieth-century visual culture was prefigured in the nineteenth. This paper will place the construction of the first economic diagrams by Alfred Marshall in the context both of contemporary visual technologies developed in other moral sciences, and of his wider theory of industrial production. The paper will argue that an understanding of the background to the historical graphs, constructed by the Cambridge political economist from the late 1860s onwards, will necessitate a revision of the narrative of modern visual reasoning, as recently advanced by Lev Manovich.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

scholarly journals Collecting Haudenosaunee Art from the Modern Era

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 55
Author(s):  
Scott Manning Stevens
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Material Culture ◽  
Two Dimensional ◽  
Museum Collections ◽  
Works Progress Administration ◽  
History Of Collecting ◽  
Look Back ◽  
History Of ◽  
Modern Era

My essay considers the history of collecting the art of Haudenosaunee (Iroquois) artists in the twentieth century. For decades Native visual and material culture was viewed under the guise of ‘crafts.’ I look back to the work of Lewis Henry Morgan on Haudenosaunee material culture. His writings helped establish a specific notion of Haudenosaunee material culture within the scholarly field of anthropology in the nineteenth century. At that point two-dimensional arts did not play a substantial role in Haudenosaunee visual culture, even though both Tuscarora and Seneca artists had produced drawings and paintings then. I investigate the turn toward collecting two-dimensional Haudenosaunee representational art, where before there was only craft. I locate this turn at the beginning of Franklin Delano Roosevelt’s administration in the 1930s. It was at this point that Seneca anthropologist Arthur C. Parker recruited Native crafts people and painters working in two-dimensional art forms to participate in a Works Progress Administration-sponsored project known as the Seneca Arts Program. Thereafter, museum collectors began purchasing and displaying paintings by the artists: Jesse Cornplanter, Sanford Plummer, and Ernest Smith. I argue that their representation in museum collections opened the door for the contemporary Haudenosaunee to follow.

Studying Modern Arabic Literature

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Arab World ◽  
Public Intellectual ◽  
Arabic Literature ◽  
Global Culture ◽  
The West ◽  
Teaching And Research ◽  
The Face ◽  
The 1960S ◽  
Modern Arabic

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

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