Marguerite de Navarre

2011 ◽  
Author(s):  
Catharine Randall
Keyword(s):  
Women Writers ◽  
Marguerite De Navarre ◽  
Literary Production ◽  
Considerable Influence ◽  
Men And Women ◽  
Artistic Production ◽  
The Arts ◽  
Humanist Education ◽  
To Come ◽  
Court Life

The highly cultured, erudite, and learned Marguerite de Navarre (1492–1549) was the daughter of Charles d’Angoulême and Louise de Savoie, and the sister of the Renaissance king François I. Marguerite’s mother had insisted on a solid humanist education for her; like her brother, Marguerite was proficient in Latin, Hebrew, Spanish, and Italian, and read philosophy and theology. She was an avid reader whose own literary production was to be much influenced by figures such as Plato, Plutarch, and Boccaccio. Married to the unsatisfying, unintelligent Charles, duc d’Alençon, Marguerite began to come into her own upon her brother’s ascension to the throne in 1515. Indeed, when François I (whom she adored) was taken prisoner in Italy, Marguerite was instrumental in securing his eventual release. In many respects, Marguerite was what we would today call a Renaissance woman, for she was intimately involved in court life, the artistic production of the day, political and diplomatic negotiations, and contemporary educational (“humanist”) and religious discussions and controversies. Both her life and her writings were to inspire many other French men and women writers (among them Hélisenne de Crenne) many of them “evangelical” (such as Anne de Marquets). At Nérac, Marguerite gathered around her artists, thinkers, and writers whom she encouraged. As an avid and faithful patron of the arts, she had considerable influence that can still be discerned in France today. Marguerite’s second marriage to Henri d’Albret, king of Navarre, resulted in a daughter, Jeanne, the future spouse of Henri IV.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

Using Old Photographs in Interviews: Some Cautionary Notes About Silences in Fieldwork

1990 ◽  
Vol 17 ◽  
pp. 327-334 ◽  
Author(s):  
Bill Bravman
Keyword(s):  
Power Relations ◽  
Men And Women ◽  
Cultural Assumptions ◽  
The People ◽  
Taita Hills ◽  
National Archives ◽  
Long Time ◽  
Photo Collection ◽  
Image Production ◽  
To Come

In September 1987, early in my research at the Kenya National Archives, I came across a collection of photographs taken by a British missionary during the 1920s and early 1930s. The collection contained nearly 250 photos of the terrain and people of Kenya's Taita Hills, where I would soon be going for my fieldwork. I pored over the photo collection for a long time, and had reproductions made of twenty-five shots. The names of those pictured had been recorded in the photo album's captions. Many of the names were new to me, though a few WaTaita of the day who had figured prominently in the archival records were also captured on film. When I moved on to Taita in early 1988,1 took the photographs with me. Since I would be interviewing men and women old enough either to remember or be contemporaries of the people in the pictures, I planned to show the photos during the interviews. At first I was simply curious about who some of the people pictured were, but my curiosity quickly evolved into a more ambitious plan. I decided to try using the photographs as visual prompts to get people to speak more expansively than they otherwise might about their lives and their experiences.In the event, I learned that using the photographs in interviews involved many more complexities than I had envisaged in my initial enthusiasm. I found that I had to alter the expectations and techniques I took to Taita, and feel out some of the limitations of working with the photographic medium. I had to recognize the power relations embedded in my presence as a researcher in Taita, in my position as bearer of images from peoples' pasts, and in the photos themselves. I found, too, that I needed to come to grips with a number of issues about the politics of image production, and the historical product of those politics: the bounded, selected images that are photographs. Finally, I had to address some of my own cultural assumptions about photography and how people respond to pictures, assumptions that my informants did not necessarily share.

Artisans, Objects and Everyday Life in Renaissance Italy

2020 ◽  
Author(s):  
Paula Hohti Erichsen
Keyword(s):  
Sixteenth Century ◽  
Way Of Life ◽  
Contemporary Culture ◽  
Luxury Goods ◽  
Men And Women ◽  
Household Economies ◽  
The Arts ◽  
Cultural Renaissance ◽  
Renaissance Italy ◽  
History Books

Did ordinary Italians have a ‘Renaissance’? This book presents the first in-depth exploration of how artisans and small local traders experienced the material and cultural Renaissance. Drawing on a rich blend of sixteenth-century visual and archival evidence, it examines how individuals and families at artisanal levels (such as shoemakers, barbers, bakers and innkeepers) lived and worked, managed their household economies and consumption, socialised in their homes, and engaged with the arts and the markets for luxury goods. It demonstrates that although the economic and social status of local craftsmen and traders was relatively low, their material possessions show how these men and women who rarely make it into the history books were fully engaged with contemporary culture, cultural customs and the urban way of life.

scholarly journals A rebelião das máquinas: a arte na era da comunicação aparativa

2003 ◽  
Vol 11 ◽  
pp. 144
Author(s):  
Eberhard Lammert
Keyword(s):  
Present Article ◽  
Information Age ◽  
Communication Media ◽  
The Arts ◽  
Industrial Age ◽  
To Come

Resumo: O presente artigo contribui para uma reflexão sobre a influência da técnica sobre as artes na Era da Informatização. Desde o início da Era Industrial, nota-se a inversão gradativa de papéis entre máquina e homem: a "ascensão das máquinas" teria transformado o homem em "servo". Nem mesmo o campo das artes esteve livre dos efeitos de tal "ascensão", sobretudo no contato com os meios de comunicação de massa, como o rádio, o cinema e a televisão. Na verdade, tudo não passou de um prelúdio para o que ainda estava por vir: a informática atingiu as artes e nossa cultura fundada na tradição escrita, resultando em transformações muito mais amplas no âmbito da comunicação individual e social.Palavras-chave: arte; técnica; mediatização.Abstract: The present article brings up issues on the influence of technique on art in the Information Age. Since the beginning of the Industrial Age, there has been a progressive inversion of roles in the relation between man and machine : the "rise of machine" seems to have turned man into a "servant". Not even the field of art remained untouched by the effects of such "rise", specially in its contact with communication media like radio, cinema and television. In fact, all that was but a prelude to what was still to come: informatics reached into the arts and our writing­ based culture, causing widespread transformations in the realms of social and individual communication.Keywords: art; technique; mediatization.

scholarly journals CULTIVATING SPIRITUALITY A NECESSITY FOR PRESENT AND FUTURE GENERATIONS

2021 ◽  
Vol 101 (2(Ч.1)) ◽  
pp. 270-283
Author(s):  
Д. Пол Шафер
Keyword(s):  
Future Generations ◽  
Environmental Crisis ◽  
Systemic Racism ◽  
Protest Movements ◽  
The Arts ◽  
The World ◽  
Other Substances ◽  
Life Threatening ◽  
Disastrous Effect ◽  
To Come

We are going through a very challenging period in human history. Not only has the COVID-19 pandemic had a disastrous effect on people and countries in all parts of the world, but also many other dangerous and life threatening problems have to be addressed and overcome, especially the environmental crisis, huge disparities in income and wealth, systemic racism, and conflicts between different genders, groups, regions, countries, and cultures. In order to come to grips with these problems, and others, it is imperative to make transcendental and not just transformational changes in our lifestyles, values, worldviews, actions, behaviour, and ways of life. The key to this lies in creating an effective balance between materialism and spiritualism, as well as placing a much higher priority on the cultivation of spirituality in our lives in the traditional and contemporary sense. Not only will this make it possible to reduce the colossal demands we are making on the natural environment – largely because most spiritual activities are "human intensive" rather than "material intensive" and therefore don’t consume as many natural resources as most other activities – but also it will enable present and future generations to experience a great deal more exuberance, exhilaration, and ecstasy in life without having to resort to drugs and other substances and devices to create "highs" and "peak experiences" because spiritual activities achieve this naturally. Many of these activities involve participating in causes that are greater than ourselves, joining protest movements aimed at creating more equality and justice in the world, going within ourselves to discover who we really are and what we were intended to realize in life, broaden and deepen our experiences in the arts, cultures, and the cultural heritage of humankind, and engage in explorations in nature and the natural realm that are capable of bringing us into contact with the sublime and possibly even the divine.

scholarly journals Now: A Post-Romantic Countertextuality of the Contemporary

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 186-206 ◽  
Author(s):  
James Corby
Keyword(s):  
Twentieth Century ◽  
Jacques Derrida ◽  
Final Part ◽  
Ethical Position ◽  
Conceptual Apparatus ◽  
The Arts ◽  
The Future ◽  
Contemporary Situation ◽  
To Come ◽  
Ethical Stance

In this essay James Corby questions the dominant future-oriented nature of the ethical turn of theory and philosophy in the final decades of the twentieth century and its aesthetic influence. Focusing in particular upon the ethical position of Jacques Derrida, Corby argues that the desire to avoid the closure of the contemporary and to preserve the possibility of difference by cultivating a radical attentiveness to that which is ‘to come’ often risks a too complete disengagement from the present, leading to an empty and ineffectual ethical stance that actually preserves the contemporary situation that it seeks to open up. Corby makes a case for this theoretical investment in the possibility of a non-contemporary (typically futural) rupture as being understood as forming part of a far-reaching romantic tradition. In opposition to this tradition he sketches a post-romantic alternative that would understand difference as an immanent, rather than imminent, matter. He argues that this should be considered congruent with a countertextual impulse oriented not towards a revelatory futurity, but, rather, towards the possible displacements, dislocations, and transformations already inherent in the contemporary. The final part of the essay develops this idea, positioning countertextuality as the articulation of alternative contemporaries. In this regard, the literature of the future is not ‘to come’, it is already here. The challenge is to recognise it as such, and this means being prepared to modify and change the conceptual apparatus that guides us in our thinking of literature and the arts.

Feminist Aesthetics

2021 ◽  
Author(s):  
A. W. Eaton
Keyword(s):  
Aesthetic Judgment ◽  
Male Gaze ◽  
Canon Formation ◽  
Artistic Production ◽  
The Arts ◽  
Female Nude ◽  
Inclusive Approach ◽  
The Aesthetic ◽  
Feminist Aesthetics

This chapter summarizes central issues and themes in feminist philosophical aesthetics in the analytic tradition, although some continental figures are discussed. After introducing the interdisciplinary, intersectional and trans* inclusive approach that feminist aesthetics is starting to take, this essay discusses situatedness, artistic canon formation, humanism vs. gynocentrism, rewriting the philosophical canon, overcoming artworld biases, and the role of the aesthetic in systemic oppression. Specific topics to be discussed include the male gaze, the female nude, the concept of artistic genius, women’s artistic production, the purported universality of correct aesthetic judgment, the sex/gender distinction as it pertains to aesthetics and the arts, and body aesthetics.

Virginia Woolf and Victoria Ocampo: A Brazilian Perspective

2016 ◽  
Author(s):  
Maria Aparecida de Oliveira
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Literary Production ◽  
Spanish Speaking ◽  
Victoria Ocampo

This paper aims at investigating how Woolf influenced Ocampo’s literary production; it might be through Ocampo’s Testemonies or in her journal Sur. It also our aim to analyse how Ocampo divulged Virginia Woolf’s writings in all Spanish-speaking countries through translations, lectures, publications and especially through her passion in talking about Woolf. Through Ocampo’s gaze, Woolf’s image and writing was understood in a different way, which goes beyond the European’s boundaries. This relationship has contributed tremendously for both of them, as women writers and intellectuals of their time. Ocampo’s progress as a writer had a dramatic impact after meeting Woolf. Above all, Ocampo contributed immensely for spreading Woolf’s writings.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Progressive Era ◽  
Cultural Production ◽  
Expressive Culture ◽  
Men And Women ◽  
Cultural Negotiation ◽  
The Arts ◽  
Interdisciplinary Study

This is an interdisciplinary study of how Kiowa men and women made, wore, displayed and discussed expressive culture. Kiowa men and women used the arts to represent new ways of understanding and representing Kiowa identity that resonated with their changed circumstances during the Progressive Era and twentieth century. Kiowas represented themselves individually and collectively through cultural production that emphasized the significance of change and cultural negotiation, gender, the ties and tensions over tribally specific and intertribal identities.

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