Jan van Eyck

2013 ◽  
Author(s):  
Alfred Acres
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Early Years ◽  
Early Model ◽  
Manuscript Illumination ◽  
The Novel ◽  
20Th Century Literature ◽  
Oil Painting ◽  
Late 18Th Century ◽  
20Th Century Art

Jan van Eyck (b. c. 1390–d. 1441), whose fame was international during his own lifetime and has never faded in the centuries since, was one of the most inventive and influential painters of all time. Born probably in the 1390s in or near Maaseik, his early years and training remain obscure. His career first comes into partial focus in the early 1420s, when he is recorded working in The Hague for John of Bavaria, Count of Holland. In 1425 he was employed by Philip the Good, Duke of Burgundy (r. 1419–1467), one of the most powerful princes in Europe. Based mainly in Bruges, he served Philip and other prestigious patrons for rest of his life. The great esteem in which he was held by the duke and others, along with Jan’s unprecedented assertion of himself among inscriptions and images, made him an early model of the prized court artist, a role that would soon become more familiar in the Renaissance and after. Of the approximately two dozen paintings most confidently attributed to him, the earliest dated work is also the largest and most complex: the Ghent Altarpiece, completed 1432. Its inscription indicates that the project was begun by his brother Hubert (d. 1426), from whom no other surviving works have been confidently identified. The remaining paintings attributed to Jan van Eyck are altarpieces, smaller devotional pieces, and portraits. Lost works mentioned in early sources or echoed in variant paintings and drawings included more of the same, along with at least one genre-like image, of a woman at her bath. It has long been speculated that Jan’s early work may have included manuscript illumination, with the paintings of the Turin-Milan Hours at the center of this scholarship. In his 1550 Lives of the Artists, Vasari credited Jan van Eyck with the invention of oil painting, a claim widely repeated until it was disproven in the late 18th century. But fascination with the brilliant effects of van Eyck’s technique—and especially the novel depths of his realism—has never waned. Much of the 20th-century literature has probed symbolic and related dimensions of meaning in his realism. This interpretive scholarship on van Eyck and his Flemish contemporaries (chiefly Robert Campin and Rogier van der Weyden), associated especially with Panofsky’s conceptions of iconography, iconology, and “disguised symbolism,” became widely influential in 20th-century art history.

scholarly journals Lyckans administration

2016 ◽  
Vol 44 (121) ◽  
pp. 135-152
Author(s):  
Thomas Götselius
Keyword(s):  
18Th Century ◽  
Local Administration ◽  
The Novel ◽  
Sovereign Power ◽  
Theoretical Level ◽  
German State ◽  
State Reform ◽  
Late 18Th Century ◽  
Wilhelm Meisters Lehrjahre ◽  
The Subject

This article engages in the new concept of individual happiness that spread in the 18th Century and in Goethe’s pivotal novel Wilhelm Meisters Lehrjahre (1795–96). In this novel, the process of “Bildung” is designed to lead the protagonist to happiness, but happiness turns out to be possible only if the process can be governed from the outside, by powers alien to the subject. For this reason, the article argues that the notion of happiness orchestrated in the novel is not based on a revolutionary concept of happiness or a victorious Enlightenment critique, but on a concept derived from a more local field of knowledge, namely “Polizeywissenschaft”. Central to German state reform, and the practices of local administration in the late 18th Century, “Polizeywissenschaft” was developed in order to render happiness to both states and individuals, and it did so by means of surveillance and secret intervention in everyday life. On a theoretical level, the breakthrough of ”the police” during the century could be mapped as an outcome of the transition from a sovereign power regime to a biopolitical one, in Michel Foucault’s teminology. In Wilhelm Meisters Lehrjahre, as in the biopolitics encoded in the “Polizeywissenschaft,” the experience of happiness is thus coupled with a new way of governing life as such.

4. Modern reading

2019 ◽  
pp. 50-74
Author(s):  
Belinda Jack
Keyword(s):  
Industrial Revolution ◽  
18Th Century ◽  
The Novel ◽  
History Of The Novel ◽  
Daily Newspaper ◽  
Paper Making ◽  
Late 18Th Century ◽  
History Of ◽  
Printing Processes ◽  
Rotary Press

The Industrial Revolution from the late 18th century on brought changes to reading. Printing processes developed further, in particular typesetting. The development of the steam-powered press, the rotary press, and cheaper paper-making accounted for the birth and rapid rise of the daily newspaper. ‘Modern reading’ also explains how the Industrial Revolution resulted in the expansion of towns and cities, which then became the privileged places for reading. The ever-growing audience of readers were reading newspapers and journals, sermons and manuals, but above all novels. The history of the novel is considered along with how reading affected people’s ideas, in terms of how they then wanted to live.

scholarly journals MARKERS OF INFLECTIONAL GRAMMATICAL MEANINGS IN THE KOMI-PERMYAK LANGUAGE OF THE LATE 18TH CENTURY (BASED ON THE MATERIAL OF ARCHPRIEST ANTONY POPOV’S HANDWRITTEN DICTIONARIES)

2021 ◽  
pp. 34-46
Author(s):  
Алевтина Степановна Лобанова ◽  
Роман Валентинович Гайдамашко
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Past Tense ◽  
Future Tense ◽  
Dictionary Entry ◽  
Late 18Th Century ◽  
Wide Range ◽  
Case Markers ◽  
Historical Grammar ◽  
Spatial Semantics

В статье представлен фрагмент лингвистического анализа памятников ранней коми-пермяцкой письменности — рукописей протоиерея Антония Попова (1748–1788), которые датированы 1785 годом и на данный момент известны как первые фундаментальные труды по пермяцкому языкознанию — опыт грамматики и два словаря — алфавитный и тематический. Эти рукописи до сих пор не изданы и исследованы в недостаточной степени. Цель настоящего исследования — выявить и проанализировать показатели словоизменительных грамматических значений в коми-пермяцком языке конца XVIII века на материале словарей А. Попова. В сопоставительном и ареальном аспектах рассматриваются показатели коми-пермяцких словоизменительных грамматических значений следующих категорий: а) число имен, б) падеж, в) лично-притяжательность, г) время. В большинстве своем они идентичны современным грамматическим формам и грамматическим значениям, однако есть и любопытные особенности. Суффикс множественного числа имени существительного представлен в рукописях А. Попова более архаичным вариантом [jɛs] (при современном [ɛz]), который еще во второй половине XX в. фиксировался в различных говорах коми языкового континуума, преимущественно периферийных. В рукописях зафиксирован широкий спектр падежных показателей: вместе с номинативом представлены еще десять падежных форм (из них семь — местные падежи, реализующие пространственную семантику, так называемые внутриместные и внешнеместные падежи). Слово-изменительные показатели со свойственными им значениями «спрятаны» в составе наречий, серийных послелогов и отчасти числительных, а показатель лишительного падежа оформлен отдельной словарной статьей как предлог. Обращает на себя внимание грамматический показатель переходного падежа -ты — в современном коми-пермяцком языке семантика данного падежа реализуется формой -öт. Показатели представленной в работах категории лично-притяжательности сходны с современными семантическими и грамматическими показателями. Данная словоизменительная категория реализуется суффиксами -мъ (возм. -е), -тъ, -съ, -нымъ, -нытъ, -нысъ (при современных -ö ‘мой’, -ыт ‘твой’, -ыс ‘его’, -ным ‘наш’, -ныт ‘ваш’, -ныс ‘их’). Словоизменительные формы глаголов, зафиксированные в рукописях А. Попова, демонстрируют настоящее, будущее, прошедшее очевидное и прошедшее неочевидное времена; показан фрагмент будущего сложного времени. Не удалось обнаружить хотя бы элементы аналитического прошедшего времени. Показатели всех обозначенных времен тождественны соответствующим показателям в современном коми-пермяцком языке. Настоящая статья является не только вкладом в изучение финно-угорского рукописного наследия, но и скромным шагом на пути к разработке исторической грамматики коми-пермяцкого языка. The article presents a fragment of linguistic analysis of monuments of early Komi-Permyak writing — the manuscripts of Archpriest Antony Popov (1748–1788), which are dated 1785 and are currently known as the first fundamental works on Permyak linguistics — grammar sketch and two dictionaries — alphabetical and thematic. These manuscripts have not yet been published and have not been sufficiently studied. The aim of current study is to identify and analyze markers of inflectional grammatical meanings in the Komi-Permyak language of the late 18th century based on the material of the A. Popov’s dictionaries. Markers of Komi-Permyak inflectional grammatical meanings of the following categories are considered in comparative and areal aspects: a) number of nouns and adjectives, b) case, c) personal possessiveness, d) tense. Most of them are identical to modern grammatical forms and grammatical meanings, but there are also interesting features. The plural suffix of the noun is represented in the A. Popov’s manuscripts by a more archaic variant [jɛs] (cf modern [ɛz]). It was recording still in the second half of the 20th century in various dialects of the Komi language continuum, mainly peripheral. The manuscripts contain a wide range of case markers: along with the nominative, there are ten more case forms (seven of them are local cases that implement spatial semantics, the so-called internal and external cases). Inflectional markers with their own meanings are “hidden” within adverbs, serial postpositions and partly numerals. The marker of abessive case is designed as a separate dictionary entry as a preposition. Attention is drawn to the grammatical marker of the prolative case -ты [tɨ] — in the modern Komi-Permyak language, the semantics of this case is realized by the form -öт [ɘt]. Markers of the category of personal possessiveness presented in the manuscripts are similar to modern semantic and grammatical markers. This inflectional category is implemented by the suffixes -мъ [m ] (-е [e]), -тъ [t ], -съ [s ], -нымъ [nɨm ], -нытъ [nɨt ], -нысъ [nɨs ] (cf modern -ö [ɘ] ‘my’, -ыт [ɨt] ‘your (SG)’, -ыс [ɨs] ‘his’, -ным [nɨm] ‘our’, -ныт [nɨt] ‘your (PL)’, -ныс [nɨs] ‘their’). Inflectional forms of verbs recorded in A. Popov’s dictionaries demonstrate present, future, past I and past II tenses. A fragment of compound future tense is shown. It was not possible to detect at least elements of the analytical past tense (perfect). The markers of all these tenses are identical to the corresponding markers in the modern Komi-Permyak language. This article is not only a contribution to the study of the Finno-Ugric manuscript heritage, but also a modest step towards the development of a historical grammar of the Komi-Permyak language.

scholarly journals The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship

2017 ◽  
Vol 15 (30) ◽  
pp. 147-159
Author(s):  
Thomas Kullmann
Keyword(s):  
Personal Development ◽  
Role Model ◽  
18Th Century ◽  
The Novel ◽  
Minor Characters ◽  
National Theatre ◽  
Theatrical Space ◽  
Late 18Th Century ◽  
Theatrical Practice ◽  
The Hamlet

Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.

scholarly journals Considerations about foxing stains in three paper collections ranging from the 16th to the 20th century

2020 ◽  
Author(s):  
Francisca Figueira ◽  
Marta Matos ◽  
Aida Nunes ◽  
Mariana Afonso ◽  
Ana Clara Rocha ◽  
...  
Keyword(s):  
Synergistic Effect ◽  
20Th Century ◽  
Historical Data ◽  
18Th Century ◽  
Light Sources ◽  
Late 18Th Century ◽  
Different Types ◽  
Time Periods ◽  
Paper Conservation

Three surveys on the occurrence of foxing stains were carried out on papers dating from 1560 to 1975 in three Portuguese collections. Foxed papers were found to be more intensely and intrusively stained in certain time periods of each collection. Based on historical data and on the professional paper conservation experience, the authors linked the increased occurrence of foxing stains in certain time periods to the new papermaking processes and materials, which began to be introduced in the late 18th century, and in particular to a synergistic effect between three factors: the use of deficient gelatine sizing which began to present a poorer quality and homogeneity, the presence of iron-containing impurities throughout the paper leaf and a distinct sorbency of moisture. Observing batches of morphologically similar papers by using photographic imaging with different types of light sources and incidences, the authors verified that similar papers present similar foxing stains.

PORTRAIT OF THE CHARACTER PUGACHEV IN A.S. PUSHKIN’S NOVEL THE CAPTAIN’S DAUGHTER: FROM THE ORIGINAL TO THE TRANSLATION

2020 ◽  
Vol 10 (Special) ◽  
pp. 97-104
Author(s):  
Thuong Linh Vu
Keyword(s):  
Original Work ◽  
18Th Century ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Late 18Th Century ◽  
The One

The novel The Captain's Daughter by Pushkin has been acknowledged by researchers as a prose encyclopedia about Russian life in the late 18th century. In this work, Pushkin proved himself not only a responsible historian, but also a talented portrait painter. This article is aimed at clarifying the art of creating the portrait of the character Pugachev in Pushkin's novel The Captain's Daughter. By making a comparison between the original and the translation by Professor Cao Xuan Hao, we have found that the translator has made fairly accurate depictions of the characters. However, there remain some limitations in the Vietnamese translation, including the incorrect translation of several portrait features of the characters and the omission of some details. These drawbacks, on the one hand, have reduced the expressiveness of the characters’ portraits; on the other hand, they have hindered the readers from fully perceiving the spirit of the original work.

scholarly journals Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

Ars Adriatica ◽  
2016 ◽  
pp. 185
Author(s):  
Petar Puhmajer ◽  
Krasanka Majer Jurišić
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Apartment Building ◽  
Wrought Iron ◽  
Late 18Th Century ◽  
Archival Documentation ◽  
The 19Th Century ◽  
Storey Building ◽  
Made In

This paper focuses on the construction history and renovations of the Benzoni Palace located in Grivica Square in the Old Town of Rijeka. The three-storey building was designed by architect Antonio de Verneda and erected during the second quarter of the 18th century as a family palace of Giovanni Antonio Benzoni, bishop of Senj (1693-1745). The palace was renovated in the late 18th century, at the time when it was owned by the bishop’s nephew, Giulio Benzoni (1732-1798), who was a city councillor. He had the front façade redesigned in the late-baroque classicist style, by adding a monumental stone portal, two balconies, and rich window decoration made in wrought iron. The palace underwent further adaptations during the second half of the 19th century, when it was repurposed to serve as an orphanage, then as army barracks, and eventually as a rental apartment building. The 20th century saw several major interventions undertaken by its tenants, which to some extent degraded the palace’s architecture. Based on the archival documentation, the authors present a proposal for the reconstruction of its original façade and the context of its design in the late 18th-century Rijeka.

scholarly journals Metacritique on Bentham and Foucault’s Panoptic Theories as Analytic Tools for Three Modes of Digital Surveillance

Plaridel ◽  
2021 ◽  
Author(s):  
Feorillo A. Demeterio III, ◽  
June Benedict Parreno
Keyword(s):  
Social Media ◽  
20Th Century ◽  
18Th Century ◽  
Data Gathering ◽  
Digital Age ◽  
Late 20Th Century ◽  
Digital Surveillance ◽  
Late 18Th Century

The panopticon was originally a prison design made by Bentham in the late 18th century to efficiently reform offenders. Foucault appropriated Bentham’s panopticon in the late 20th century to conceptualize and critique the society and state’s coercive practices in making individuals conform to social and state norms. Although Foucault’s appropriation of Bentham’s panopticon was done prior to the full emergence of the digital age, a number of present day scholars use the panopticon in conceptualizing and critiquing digital surveillance. This paper problematizes the applicability of both Bentham and Foucault’s panoptic theories to such contemporary phenomenon. This paper dissected both panoptic theories into five components—subjects; observers; data gathering, storage, and analysis; goals and effects of the systems; and management of the systems—and compared and contrasted these to their corresponding components from three cases of digital surveillance representing state digital surveillance, social media digital surveillance, and e-commerce digital surveillance. This paper established that Bentham and Foucault’s panoptic theories have moderate resemblance to each other; that both Bentham and Foucault’s panoptic theories are applicable to the conceptualization and critique of state digital surveillance; and that both Bentham and Foucault’s panoptic theories are not applicable to the conceptualization and critique of social media and e-commerce digital surveillances. As a metacritique this paper is significant in the sense that its findings will hopefully enlighten other scholars about the actual levels of usefulness of both panoptic theories in conceptualizing and critiquing different modes of digital surveillance.

1. Introducing criminology

2018 ◽  
pp. 1-4
Author(s):  
Tim Newburn
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Small Groups ◽  
18Th Century ◽  
The Body ◽  
Social Phenomenon ◽  
Body Of Knowledge ◽  
Late 18Th Century ◽  
Court Proceedings ◽  
The 19Th Century

‘Introducing criminology’ explains that according to American criminologist, Edwin Sutherland, criminology is the body of knowledge regarding crime as a social phenomenon including within its scope the process of making and breaking laws, and reacting to the breaking of laws. Criminology dates back to the late 18th century when small groups of people developed an interest in explaining crime alongside their main occupations such as running asylums or collecting statistics on prisons or court proceedings. There was no form of collective enterprise until the end of the 19th century. During the 20th century, ‘criminology’ gradually formed and solidified. Its constitutive disciplines include sociology, history, psychology, law, and statistics.

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