Introduction

2019 ◽  
pp. 1-22
Author(s):  
Jennifer H. Oliver
Keyword(s):  
Sixteenth Century ◽  
Critical Study ◽  
Political Symbolism ◽  
French Culture ◽  
Potential Failure ◽  
The Rich ◽  
The Aesthetic ◽  
Previous Scholarship ◽  
Literary Reception

In the early 1520s, a ship of remarkable proportion was built in Le Havre, commissioned by François I in response, in part, to the size, success, and renown of Henry VIII’s Mary Rose. The story of the Grande Françoise, reported locally as the largest vessel ever witnessed, demonstrates the rich cultural and political symbolism (intentional or otherwise) of the ship in the sixteenth century, and the significance of its potential failure, destruction, and recuperation. This Introduction moves from the example of the Grande Françoise, including its swiftly traceable literary reception, to survey the classical, biblical, and medieval traditions that inform the writing of shipwreck in the sixteenth century, before turning to previous critical study of shipwreck, with particular focus on Hans Blumenberg’s essay Shipwreck with Spectator. The Direful Spectacle is in some senses a response to Blumenberg, offering a ‘close-up’ on French culture of the sixteenth century, and a challenge to his separation of the aesthetic from the moral or ethical in shipwreck texts. Situating this new study in relation to previous scholarship, the Introduction then proceeds to set out its distinctive themes and arguments, before concluding with an outline of the structure and summaries of the contents and argument of each chapter.

Modernism and Non-Translation

2019 ◽  
Keyword(s):  
Case Studies ◽  
James Joyce ◽  
Ezra Pound ◽  
Modernist Literature ◽  
Cultural Implications ◽  
The Rich ◽  
The Aesthetic ◽  
Reading Key ◽  
Modernist Fiction ◽  
Selection Of

Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.

A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication

2021 ◽  
Vol 7 (5) ◽  
pp. 1028-1035
Author(s):  
Jiaxia Cheng
Keyword(s):  
Graphic Design ◽  
Visual Communication ◽  
Folk Art ◽  
Visual Communication Design ◽  
Design Concepts ◽  
Chinese Nation ◽  
The Rich ◽  
The Times ◽  
The Aesthetic ◽  
National Style

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

scholarly journals THE HOBBESIAN TURN

2018 ◽  
Vol 27 (55-56) ◽  
pp. 23-40
Author(s):  
Joseph Margolis
Keyword(s):  
Sixteenth Century ◽  
Creative Expression ◽  
The Political ◽  
Cultural Life ◽  
History Of ◽  
The Aesthetic ◽  
Western Politics

The “Hobbesian turn” is an invention out of whole cloth, a device by which to oppose the usually supposed autonomy of the aesthetic, the moral, the political, and the factual; to recover the collective holism of civilizational (or enlanguaged cultural) life; to feature the existential historicity of the human career, which is incompatible with any strict universalism and all the forms of transcendentalism; hence, also, to feature the adequacy of a contingent Lebensform in collecting the affinities of creative expression and agentive commitment within the terms of human solidarity; to abandon strict universality and necessary synthetic truths; and to favour the fluxive world of pragmatist construction rather than the indemonstrable fixities of rationalism and transcendentalism. The article proceeds largely by examining aspects of Picasso’s career and the history of Western politics spanning the sixteenth century to the present.

At Home in Renaissance Bruges

2022 ◽  
Author(s):  
Julie De Groot
Keyword(s):  
Sixteenth Century ◽  
Material Culture ◽  
Social Factors ◽  
Religious Practice ◽  
Culture Studies ◽  
Domestic Spaces ◽  
The Rich ◽  
Rich Material ◽  
At Home

How did citizens in Bruges create a home? What did an ordinary domestic interior look like in the sixteenth century? And more importantly: how does one study the domestic culture of bygone times by analysing documents such as probate inventories? These questions seem straightforward, yet few endeavours are more challenging than reconstructing a sixteenth-century domestic reality from written sources. This book takes full advantage of the inventory and convincingly frames household objects in their original context of use. Meticulously connecting objects, people and domestic spaces, the book introduces the reader to the rich material world of Bruges citizens in the Renaissance, their sensory engagement, their religious practice, the role of women, and other social factors. By weaving insights from material culture studies with urban history, At Home in Renaissance Bruges offers an appealing and holistic mixture of in-depth socio-economic, cultural and material analysis. In its approach the book goes beyond heavy-handed theories and stereotypes about the exquisite taste of aristocratic elites, focusing instead on the domestic materiality of Bruges’ middling groups. Evocatively illustrated with contemporary paintings from Bruges and beyond, this monograph shows a nuanced picture of domestic materiality in a remarkable European city.

Evaluation of the aesthetic qualities and adaptability of introduced ornamental apple trees from the genetic collection of the Orenburg Branch of the Federal Horticultural Research Center for Breeding, Agrotechnology and Nursery

2021 ◽  
Vol 67 ◽  
pp. 78-88
Author(s):  
E. M. Feschenko
Keyword(s):  
Abiotic Factors ◽  
Average Diameter ◽  
Research Center ◽  
Apple Trees ◽  
Vegetative Organs ◽  
Royal Horticultural Society ◽  
Red Color ◽  
Ornamental Crops ◽  
The Rich ◽  
The Aesthetic

The study of ornamental and adaptive qualities of Malus Mill. from the genetic collection of ornamental crops of the Orenburg branch of the Research Center of Horticulture was carried out to assess the gene pool of introduced wild apple tree species and forms and identify suitable for the urban landscaping and the breeding process. Such characteristics as habitus, abundance of flowering, color and number of flowers in the inflorescence, color of vegetative organs, flowers and fruits during the season were taken into account; resistance to major diseases and adverse abiotic factors was evaluated. Additionally, the color of buds and flowers was characterized on the basis of the RHS (Royal Horticultural Society Color Chart). As a result of a preliminary survey on the complex of ornamental qualities and the level of adaptability, 5 most promising species were identified, which received the best ratings on the ornamental scale. Malus sikkimensis (Wenz.) Koehne ex C. K. Schneid. (31 points) was characterized by an attractive habit, the presence of flowers with a diameter of up to 40 mm and subsequently fruits that acquire a yellow-red color. Malus sargentii Rehder (29 points) was notable for its compact rounded crown, a large number of flowers with a diameter of 30 mm, followed by the formation of fruits with a dark red color. Malus floribunda Siebold ex Van Houtte (28 points) was distinguished by a large number of fragrant flowers in an umbrella-shaped inflorescence (5 — 7 pcs) with an average diameter of 30 mm, as well as attractive red-yellow fruits. Malus sieboldii (Regel) Rehder, M. toringo Siebold (28 points) was interesting primarily by the presence of 5 -7 flowers of 20 — 30 mm in the inflorescence and decorative fruits, the color of which varies from yellow to red. Malus niedzwetzkyana Dieck (28 points) attracted attention to the rich purple color of all organs due to the presence of a large number of anthocyanins, it was also worth noting the presence of a pleasant aroma during flowering and large flowers with an average diameter of 40 mm. The selected ornamental types of apple trees are favorable for use in landscaping of various scales, they are recommended for breeding work as initial parent forms.

A Feast of Beltain? ReXections on the Rich Danebury Harvests

2007 ◽  
Author(s):  
Martin Jones
Keyword(s):  
Iron Age ◽  
Present Author ◽  
Critical Study ◽  
Data Sets ◽  
Economic Activities ◽  
Plant Remains ◽  
Original Argument ◽  
The Rich ◽  
The Times ◽  
Interesting Direction

Twenty-five years after embarking on what was to become one of the major Iron Age excavations of the twentieth century, Barry Cunliffe was also reflecting on the endless cycle from Beltain, through Lughnasadh, to Samhain and Imbolc, and back to Beltain (Cunliffe 1995). While the journey to which Cuchulainn aspired was across the bosom of his bride to be, Cunliffe’s journey took him to a deeper understanding of the culmination of European Prehistory. The campaign he so impressively led at Danebury hillfort formed a critical leg of that journey; it remains a keystone to everyone’s understanding of Iron Age society. He was not alone among his research group in reflecting upon that annual cycle of seasons and feasts, which is preserved in various subsequent Celtic and Gaelic accounts; the principal archaeobotanist and archaeozoologist on the Danebury Environs Project incorporated them into their resumé of seasonal economic activities (Campbell and Hamilton 2000). Cunliffe had previously inferred, on the basis of an analysis he conducted with Poole (1995) of different patterns of erosion and infilling in the thousands of pits within the hillfort of Danebury, that Beltain and Samhain were the times of their ritual opening and infilling. These same pits provided the present author with one of the richest archaeobotanical data-sets I have had the opportunity to examine, and formed a cornerstone of my arguments about Iron Age agricultural production (Jones 1981, 1984a and b, 1985, 1991, 1995, 1996). The discussion and critique those analyses have generated are at least as valuable as the original publications themselves, and the most recent of them draws the debate in an interesting direction. In a meticulous and critical study, Van der Veen and Jones (2006) question a number of aspects of my original argument, and shift the emphasis from my own, which was upon relations of production, to a new emphasis upon relations of consumption. Whereas I had connected the plant remains within the pits to the toil of farmers, they speculated upon the celebrations of the feast.

Widersprüchliche Optionen: Stationen der Künste 1913

2013 ◽  
Vol 38 (1) ◽  
Author(s):  
Christoph Asendorf
Keyword(s):  
Avant Garde ◽  
The Rich ◽  
The Aesthetic

AbstractApart from their rather coincidental origin year, 1913, there is no apparent connection between a monument like the “Völkerschlachtdenkmal” in Leipzig (“Monument to the Battle of the Nations”) and the aesthetic manifestations of the avant-garde. These artistic expressions oscillate between opposite poles: weakness and desire for stability, refinement and primitivism, immanence and transcendence. It might be assumed that precisely these contradictory impulses lie at the heart of the rich and widely influential artistic outcome of this pre-war year.

The Douai Defence

1969 ◽  
Vol 10 (3) ◽  
pp. 176-180 ◽  
Author(s):  
T. F. Taylor
Keyword(s):  
Sixteenth Century ◽  
The Rich ◽  
The Church

Many of the sixteenth century Protestant reformers denied the rôle and authority of the Roman Church as a mediating instrument between Christ and believers. There was specific theological objection to the legitimacy of a sacrament of holy orders with a divinely empowered hierarchy. In consequence, much of the Catholic reaction and reform was designed to re-establish and emphasise both dogmatically and practically true authority within the Church. Seminaries therefore, as planned by the Tridentine decree of 15 July 1563, belonged to an ecclesiological context. They were seedbeds, giving protection from hostile and indifferent society, where men were set apart to sink roots in the rich soil of clerical life, and only then to emeige to feed the Church.

Kilwa Dynastic Historiography: A Critical Study

1979 ◽  
Vol 6 ◽  
pp. 177-207 ◽  
Author(s):  
Elias Saad
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Thirteenth Century ◽  
Alternative Explanation ◽  
Tenth Century ◽  
Critical Study ◽  
Arabic Version ◽  
Portuguese Version ◽  
Recent Debate ◽  
Dynastic Politics

One of the unresolved problems in African historiography concerns the Arabic and Portuguese versions of the so-called Kilwa Chronicle. Scholars who have used these sixteenth-century sources have tended to assume that the Portuguese version, which is essentially a list of the kings of Kilwa up to around 1500, is a transcription of the Arabic version known under the title of Kitab al-Sulwa. In the recent debate between Freeman-Grenville and Chittick, this assumption has created serious difficulties because the Portuguese account mentions kings who are omitted in the Kitab. Freeman-Grenville attempted to resolve the difficulty by hypothesizing that the work was defectively abridged in the extant nineteenth-century copy. Relying on the regnal durations in the Portuguese account, he computed the dynastic chronology of Kilwa backwards to the tenth century. Subsequently, Chittick's excavations did not show Kilwa important enough to have been the site of a kingdom prior to the thirteenth century. This became the basis for an alternative explanation which denied the existence of gaps or omissions in the Kitab. Chittick argued instead that the longer list of kings in the Portuguese account may have resulted from dovetailing two sources together and duplicating their information.The present paper calls on genealogical evidence overlooked by both scholars which demonstrates that the divergence between the two sources results from their varying perspectives on the dynastic politics and succession disputes. First, the Portuguese account, though occurring in João de Barros’ Da Asia written about 1552, may represent an impromptu composition given to the Portuguese during their occupation of Kilwa in 1505–12.

Censura y traducción

Babel ◽  
2006 ◽  
Vol 52 (1) ◽  
pp. 17-38
Author(s):  
Eterio Pajares
Keyword(s):  
Eighteenth Century ◽  
Common Sense ◽  
Spanish Version ◽  
Critical Study ◽  
Close Reading ◽  
History Of ◽  
Heavy Burden ◽  
The Aesthetic ◽  
Aesthetic Distance

Abstract Britain’s involvement in the War of the Spanish Succession was such a heavy burden for this country that many essays were written against prolonging the struggle. To this, John Arbuthnot (this satire was wrongly attributed to Swift for many years) contributed with The History of John Bull, a collection of fine satirical pamphlets designed to put and end to the campaign, and advocating a return to peace and common sense. It was soon translated into French and, from this language, Juan Ignacio de Ayestaran tried to produce a Spanish version. However, this version was not authorised by the harsh and voracious Spanish censorship of the period. This essay offers a comparative critical study of the translation and analyses the censors’ reasons for rejecting it. The close reading of this fine satirical work makes the arguments for rebuffing the authorisation so obvious that one wonders to what extent some eighteenth century translators were really aware of the time they were living in and the aesthetic distance between two countries so geographically near but so alien in freedom and tradition. Résumé Le rôle de la Grande-Bretagne dans la guerre de succession espagnole a été un tel fardeau pour ce pays que de nombreux essais ont été écrits contre la poursuite de la lutte. John Arbuthnot y a contribué avec L’histoire de John Bull (pendant de nombreuses années, cette satire a été attribuée à tort à Swift). Cette collection de superbes pamphlets satiriques, conçus pour mettre fin à la campagne et préconisant le retour à la paix et au bon sens, a rapidement été traduite en français. En partant de cette langue, Juan Ignacio de Ayestaran a tenté de produire une version espagnole. Toutefois, cette version n’a pas été autorisée par la censure espagnole, dure et dévorante, de l’époque. Cet essai propose une étude critique comparative de la traduction et analyse les raisons pour lesquelles le censeur l’a rejetée. Une lecture attentive de cette belle oeuvre satirique rend tellement évidents les arguments invoqués pour l’interdire qu’on se demande dans quelle mesure certains traducteurs du dix-huitième siècle étaient vraiment conscients de l’époque où ils vivaient et de la distance esthétique entre deux pays, si proches géographiquement parlant et pourtant si distants sur le plan de la liberté et de la tradition.

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