Architecture Under Nationalism

2020 ◽  
pp. 295-388
Author(s):  
Nathaniel Robert Walker
Keyword(s):  
Nineteenth Century ◽  
Urban Design ◽  
Boiling Point ◽  
William Morris ◽  
Political Movement ◽  
Edward Bellamy ◽  
Utopian Literature ◽  
The Troubles ◽  
Industrial Cities

The international smash Looking Backward 2000–1887, by Edward Bellamy, represents the peak of nineteenth-century utopian literature. As the troubles of American industrial cities reached a boiling point, this novel offered a seductive vision of universal prosperity under industrial socialism. Its urban design content was somewhat vague, but Bellamy quickly published an essay clarifying his commitment to the principles of urban decentralization, and a number of his fans wrote sequels driving this point home. As a major political movement called “Nationalism” rose to carry out Bellamy’s vision, William Morris roused his pen in London to rebut Looking Backward with an anti-industrial counter-utopia of pastoral peace: News from Nowhere. The suburban Morris had more in common with Bellamy, however, than he realized. At the same time, the architect John Pickering Putnam called for garden apartments to define the coming Nationalist utopia, testing his ideas with several prominent projects in Boston’s Back Bay.

Introduction

2018 ◽  
pp. 1-16 ◽  
Author(s):  
Michael Robertson
Keyword(s):  
United States ◽  
Great Britain ◽  
The United States ◽  
Charlotte Perkins Gilman ◽  
William Morris ◽  
Edward Bellamy ◽  
Utopian Literature ◽  
Central Values ◽  
Late Nineteenth ◽  
Edward Carpenter

This book examines the distinctive strain of transatlantic utopianism found within the work of four writers—a group that it calls the “last utopians”—of the late nineteenth and early twentieth centuries: Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman. Focusing on the legacy of Bellamy, Morris, Carpenter, Gilman, and their contemporary heirs, the book shows how utopian literature and social thought flourished in the United States and Great Britain from the mid-1880s until 1915. It also considers the distinctive elements that unite the utopianism of Bellamy, Morris, Carpenter, and Gilman, suggesting that their utopian visions are currently manifested in lived utopianism. Finally, the book explores contemporary everyday utopias that embrace the last utopians' central values—institutions, sites, and practices that are committed to political, sexual, and spiritual egalitarianism; that promote simplicity and sustainability; and that explore new forms of family and community.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Art Nouveau

2018 ◽  
Author(s):  
Sharon Jordan
Keyword(s):  
Nineteenth Century ◽  
Consumer Goods ◽  
Turn Of The Century ◽  
Art Nouveau ◽  
William Morris ◽  
Middle Classes ◽  
The Arts ◽  
Cultural Climate ◽  
Architecture And Design ◽  
Applied Arts

From the 1880s until the mid-1910s, Art Nouveau was the dominant style in art, architecture, and design in Europe, with innovative and thoroughly modern production in graphics, furniture, and applied arts. Though it incorporated elements from a range of diverse sources, the most characteristic forms of Art Nouveau were those inspired by nature, but nature that had been adapted, stylized, and aestheticized to reflect the cultural climate of the turn of the century. The origins of Art Nouveau developed out of the ideas of several leading figures during the mid-nineteenth century in their efforts to reconcile art with the increasingly industrialized methods of production dominating in the applied arts. In Britain, William Morris advocated for a unity among art, design, and applied arts that valued handcraftsmanship in well-made objects made available to the middle classes. The Arts & Crafts movement sought to counter the array of poorly designed consumer goods seen at the Great Exhibition in London in 1851, in which individual objects were frequently overwhelmed by ornamentation.

scholarly journals THE INTERACTION BETWEEN LANDSCAPE ARCHITECTURE AND URBAN DEVELOPMENT. DO WE HAVE A COMMON GOAL? / KRAŠTOVAIZDŽIO ARCHITEKTŪROS IR URBANISTIKOS SĄVEIKA – AR TURIME BENDRĄ TIKSLĄ

2015 ◽  
Vol 7 (1) ◽  
pp. 6-19 ◽  
Author(s):  
Vaiva Deveikienė
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Urban Development ◽  
Urban Design ◽  
Landscape Architecture ◽  
Urban Landscape ◽  
Late Nineteenth Century ◽  
Common Goal ◽  
Late Nineteenth ◽  
The Relationship

The article analyses the problem of the relationship and interaction between urban design and landscape architecture. This refers to the period of the modern city from the late nineteenth century to the present day. There are presented and discussed urbanization processes and examples of solutions with emphasis on problems arising from the relationship between a city and nature as well as those related to urban landscape and sustainability of urban landscaping in the twentieth century. Straipsnyje analizuojama urbanistikos ir kraštovaizdžio architektūros santykio ir sąveikos problema. Aprėpiamas moderniojo miesto laikotarpis – nuo XIX a. antrosios pusės iki nūdienos. Pateikiama XX a. urbanizacijos procesų ir sprendinių pavyzdžių, aptariama akcentuojant miesto santykio su gamta, želdynais, t. y. gyvo, tvaraus miesto kraštovaizdžio, formavimo problematiką.

The Diggers and the Norman Yoke

2020 ◽  
pp. 68-82
Author(s):  
Clare A. Simmons
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
Significant Influence ◽  
William Blake ◽  
English Civil War ◽  
William Morris ◽  
Norman Conquest ◽  
Property Ownership ◽  
The Bible ◽  
The Middle Ages

During the English Civil War period, the Diggers asserted that social degree was a product of humanity’s fallen nature, rather than part of God’s plan. Such a claim does not require a historical precedent beyond the Bible, yet the Levellers, Diggers, and other radical reformist groups frequently appealed to the Middle Ages, suggesting that the Norman Conquest was England’s own ‘fall’ from a more equitable political and economic system, and that documents such as Magna Carta marked the people’s efforts to reclaim those rights. The Diggers’ distinct contribution to this discussion, taken up in the nineteenth century by radical thinkers such as Thomas Spence, was that property ownership should be communal. This idea of the Middle Ages survived in the radical reformist tradition into the nineteenth century and can be found in the medievalism of William Blake, William Morris, and many others. The theory of the Norman yoke remained a significant influence on social and racial theory in Britain for much of the nineteenth century.

MORRIS, CARPENTER, WILDE, AND THE POLITICAL AESTHETICS OF LABOR

2004 ◽  
Vol 32 (2) ◽  
pp. 601-616 ◽  
Author(s):  
Ruth Livesey
Keyword(s):  
Nineteenth Century ◽  
The Political ◽  
William Morris ◽  
The South ◽  
Popular Songs ◽  
Political Aesthetics ◽  
Free Thought ◽  
Radical Intellectual

IN JUNE1885 a group of radical intellectual Londoners gathered for the evening at that hub of nineteenth-century free thought, the South Place Institute. The event was organized by the Socialist League, a revolutionary socialist organization which counted William Morris, Eleanor Marx, and Edward Aveling as its most prominent members at that point in time. But this was no ordinary meeting. There were no lectures and no debates, just popular songs and dramatic recitations that had been carefully rehearsed by the membership in order to entertain for the cause. William Morris drafted a poem for the occasion, urging these “Socialists at Play” to cast their “care aside while song and verse/Touches our hearts.” Play, however, was not to lull the audience into a “luxurious mood”:

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