The Painting (Composition)

2021 ◽  
pp. 149-170
Author(s):  
Martin Eisner
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Tristram Shandy ◽  
Word And Image ◽  
The Relationship ◽  
De Vulgari Eloquentia

This chapter scrutinizes the challenges editors confronted in their typographical composition of Dante’s poem with two beginnings. Should the first beginning be followed by the rest of the poem and then the second beginning or both beginnings and then remaining verses? The various solutions proposed in the early printed editions, nineteenth-century translations, and early modern manuscripts, show the complexity of Dante’s own poetic strategy in this poem on the anniversary of Beatrice’s death, which aims to defeat time and overcome Beatrice’s death by adding more time. Exploring the persistence of this issue in the most recent editions, the chapter considers the poem in light of Dante’s decision to represent himself in the prose as painting an angel. Connecting this remark to Dante’s reflections on angels and representation in the De vulgari eloquentia and the Commedia, this chapter examines Dante’s thinking about the materiality of texts and the relationship between word and image in the context of a larger tradition that stretches from Augustine and Petrarch to Sterne’s Tristram Shandy.

Wild Actors and Wrathful Deities

2014 ◽  
Vol 44 (1) ◽  
pp. 16-32
Author(s):  
Kevin Bond
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Popular Media ◽  
The Creation ◽  
The Relationship ◽  
Theatrical Culture

This paper examines the relationship between the celebrated kabuki guild of Ichikawa Danjūrō actors and the popular Narita Fudō deity cult in the capital of Edo in early modern (seventeenth to nineteenth century) Japan. While the actors’ worship of the cult and their personifications of the deity on-stage have been well documented by scholarship, less known is how this patronage resulted in the transformation of the deity’s character and worship among commoner audiences. By tracing the Danjūrō–Narita Fudō connection among popular media of the day, this paper argues that the guild’s artistic incorporation of the deity did not merely represent a religio-commercial collaboration, but the creation of a uniquely contemporary deity specific to Edo’s theatrical culture.

scholarly journals MR AND MRS PUNCH IN NINETEENTH-CENTURY ENGLAND

2006 ◽  
Vol 49 (4) ◽  
pp. 1055-1082 ◽  
Author(s):  
ROSALIND CRONE
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Victorian England ◽  
Middle Classes ◽  
Masculinity And Femininity ◽  
Puppet Show ◽  
Violent Relationship ◽  
Central Characters ◽  
The Relationship ◽  
Attitudes Towards Marriage

This article examines the changes and continuities in the depiction of the violent relationship between the popular glove-puppets, Punch and Judy, over the course of the nineteenth century. While the puppet show emerged as a low-brow street entertainment during the first decades of the nineteenth century, by 1850 it had been hijacked by the middle and upper classes, and began to appear with increasing frequency in fashionable drawing rooms. At the same time, the relationship between the two central characters, Punch and Judy, was substantially modified. On the streets, during the first half of the century, the Punches’ marriage had both reflected the continuing popularity of the early modern theme of the ‘struggle for the breeches’ and encapsulated familial tensions that resulted from the pressures of industrialization and urbanization. However, from 1850 the middle classes attempted to reshape the relationship into a moral tale in order to teach their children valuable lessons about marital behaviour. Yet, at the same time, the maintenance of violence in the portrayal of the Punches’ conjugal life exposed crucial patterns of continuity in attitudes towards marriage, masculinity, and femininity in Victorian England.

scholarly journals Ruthenian Protestants of the Grand Duchy of Lithuania and their relationship with Orthodoxy, 1569–1767

2007 ◽  
Vol 12 (1) ◽  
pp. 41-62
Author(s):  
Andrej Kotljarchuk
Keyword(s):  
Nineteenth Century ◽  
Ethnic Identity ◽  
Cultural Identity ◽  
Early Modern ◽  
Eastern Europe ◽  
Upper Class ◽  
Counter Reformation ◽  
Grand Duchy Of Lithuania ◽  
The Relationship ◽  
Grand Duchy

In the nineteenth century when the process of the formation of modern ethnic identity in Eastern Europe started, Belarus lost its educated strata, the Ruthenian elite, the potential leadership of this movement. That happened for a number of reasons. Among them, there was the success of the Counter-Reformation over Protestantism and Orthodoxy in Belarus and Lithuania. After 1667 Catholicism became the sign of political loyalty to the Polish-Lithuanian Commonwealth. As a result, step by step the Ruthenian nobility and the upper class of townspeople of Orthodox and Protestant faiths adopted Polish religious and cultural identity under the formula ‘gente ruthenus, natione polonus.’ Very little has been written about the ethnic Ruthenian nobility of the Grand Duchy of Lithuania, especially its Protestant group. The aim of this article is to present an overview of the relationship between the early modern Protestant and Orthodox parts of the Ruthenian elite and their correlated identity.

scholarly journals Tracing Squiggles: Laurence Sterne, E. T. A. Hoffmann, and Honoré de Balzac

2020 ◽  
Vol 72 (1) ◽  
pp. 53-67
Author(s):  
Polly Dickson
Keyword(s):  
Nineteenth Century ◽  
Honore De Balzac ◽  
Laurence Sterne ◽  
Text And Image ◽  
Tristram Shandy ◽  
Shared Interest ◽  
Contour Lines ◽  
History Of ◽  
Relationship Of ◽  
The Relationship

Abstract This article examines the figure of an undulating line, or “squiggle,” printed initially in Laurence Sterne’s Tristram Shandy and copied by two nineteenth-century writers: first, by the German E. T. A. Hoffmann, in a little-known fragment, and, second, more famously, by the French Honoré de Balzac as the epigraph to his novel La peau de chagrin. These three squiggles form a triangulated relationship of imitation across two centuries, three countries, and three languages. Through attention to William Hogarth’s line of beauty and Johann Caspar Lavater’s physiognomic contour lines, the article considers the history of the undulating line as a figure for reading. It suggests that, for Sterne, Hoffmann, and Balzac, the inclusion of a pictured line within text may be seen as a “reverse ekphrastic” maneuver, one that aims to reflect the movement of narrative in visual form. In this way, the “squiggle” is foregrounded as a new and concrete motif for comparative criticism on Hoffmann and Balzac, identifying a shared interest in Sterne, as well as in the relationship and entanglement of text and image.

Disease and Civilization: A Scottish Atlantic Network of Physicians in the Enlightenment

2017 ◽  
Vol 10 (2) ◽  
pp. 197-216
Author(s):  
Sarah Irving-Stonebraker
Keyword(s):  
Nineteenth Century ◽  
Native Americans ◽  
Early Nineteenth Century ◽  
The Enlightenment ◽  
Historical Progress ◽  
Practice Of Medicine ◽  
Benjamin Rush ◽  
American Physician ◽  
The Relationship ◽  
A Current

Through an examination of the extensive papers, manuscripts and correspondence of American physician Benjamin Rush and his friends, this article argues that it is possible to map a network of Scottish-trained physicians in the late eighteenth and early nineteenth-century Atlantic world. These physicians, whose members included Benjamin Rush, John Redman, John Morgan, Adam Kuhn, and others, not only brought the Edinburgh model for medical pedagogy across the Atlantic, but also disseminated Scottish stadial theories of development, which they applied to their study of the natural history and medical practices of Native Americans and slaves. In doing so, these physicians developed theories about the relationship between civilization, historical progress and the practice of medicine. Exploring this network deepens our understanding of the transnational intellectual geography of the eighteenth and early nineteenth century British World. This article develops, in relation to Scotland, a current strand of scholarship that maps the colonial and global contexts of Enlightenment thought.

The Romantics in Alternate History from Hawthorne to Clarke: Generic Edges and the Counterfactual Turn

Romanticism ◽  
2018 ◽  
Vol 24 (2) ◽  
pp. 203-215
Author(s):  
Alex Broadhead
Keyword(s):  
Nineteenth Century ◽  
Alternate History ◽  
Recent Developments ◽  
The Relationship ◽  
Critical Interest

In 2009, Damian Walford Davies called for a counterfactual turn in Romantic studies, a move reflective of a wider growth of critical interest in the relationship between Romanticism and counterfactual historiography. In contrast to these more recent developments, the lives of the Romantics have provided a consistent source of speculation for authors of popular alternate history since the nineteenth century. Yet the aims of alternate history as a genre differ markedly from those of its more scholarly cousin, counterfactual historiography. How, then, might such works fit in to the proposed counterfactual turn? This article makes a case for the critical as well as the creative value of alternate histories featuring the Romantics. By exploring how these narratives differ from works of counterfactual historiography, it seeks to explain why the Romantics continue to inspire authors of alternate history and to illuminate the forking paths that Davies's counterfactual turn might take.

Pater's Parerga: Framing the Imaginary Portraits

2013 ◽  
Vol 3 (2) ◽  
pp. 119-135
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
Formal Structure ◽  
Literary Genre ◽  
Late Nineteenth Century ◽  
Liminal Space ◽  
Critical Attention ◽  
Similar Operation ◽  
Late Nineteenth ◽  
The Relationship

Walter Pater's late-nineteenth-century literary genre of the imaginary portrait has received relatively little critical attention. Conceived of as something of a continuum between his role as an art critic and his fictional pursuits, this essay probes the liminal space of the imaginary portraits, focusing on the role of the parergon, or frame, in his portraits. Guided by Pater's reading of Kant, who distinguishes between the work (ergon) and that which lies outside of the work (the parergon), between inside and outside, and contextualised alongside the analysis of Derrida, who shows how such distinctions have always already deconstructed themselves, I demonstrate a similar operation at work in the portraits. By closely analysing the parerga of two of Pater's portraits, ‘Duke Carl of Rosenmold’ (1887) and ‘Apollo in Picardy’ (1893), focusing on his partial quotation of Goethe in the former, and his playful autocitation and impersonation of Heine in the latter, I argue that Pater's parerga seek to destabilise the relationship between text and context so that the parerga do not lie outside the text but are implicated throughout in their reading, changing the portraits constitutively. As such, the formal structure of the parergon in Pater's portraits is also a theoretical fulcrum in his aesthetic criticism and marks that space where the limits of, and distinctions between, art and life become blurred.

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