Looking, Literacy, and the Printshop Window

2018 ◽  
pp. 40-68
Author(s):  
David Francis Taylor
Keyword(s):  
Social Form ◽  
Graphic Satire ◽  
Single Sheet ◽  
Drawing Room ◽  
Communal Space ◽  
Modes Of Engagement

This chapter examines the satirical print. The single-sheet satirical print was fundamentally a social form; it was designed to be seen, enjoyed, and lingered over by the group far more than the solitary reader. As the sites of display and modes of engagement that structured the culture of caricature make abundantly clear, prints not only invited but were in many ways predicated on practices of communal reading and consumption. Most obviously, the exhibition of engravings, satirical and otherwise, in the shopwindows of London's print sellers—a ubiquitous custom by the midcentury—ensured that prints were part of the texture of everyday pedestrian experience in Georgian London. Equally, within the home, especially the houses of the gentry and aristocracy, graphic satire was principally to be found in the communal space and rituals of the drawing room.

Graphic Satire and the Printed Image in Shakespeare’s London

2016 ◽  
Author(s):  
Helen Pierce
Keyword(s):  
Seventeenth Century ◽  
Cross Section ◽  
Commercial Practice ◽  
Graphic Satire ◽  
Single Sheet ◽  
The Common ◽  
Broad Cross Section ◽  
Print Market

How was the multiplied, printed image encountered in Shakespeare’s London? This chapter examines a range of genres and themes for single sheet, illustrated broadsides in an emerging, specialist print market. It discusses how such images were used to persuade and to entertain a potentially broad cross-section of society along moral, political and religious lines, and according to both topical and commercial interests. The mimetic nature of the English print in both engraved and woodcut form is highlighted, with its frequent adaptation of continental models to suit more local concerns. Consideration is also given to the survival of certain images in later seventeenth-century impressions, indicative of popularity and the common commercial practice of reprinting stock from aging plates and blocks, and the sporadic nature of censorship upon the illustrated broadside.

The Literariness of Graphic Satire

2018 ◽  
pp. 3-39
Author(s):  
David Francis Taylor
Keyword(s):  
Nineteenth Century ◽  
The Political ◽  
Dense Networks ◽  
Formal Equivalence ◽  
Narrative Structures ◽  
Graphic Satire ◽  
Cultural Texts ◽  
Single Sheet

This introductory chapter discusses the literariness of graphic satire. First applied to visual satire in the mid-nineteenth century, the term graphic satire problematically implies a straightforward formal equivalence between the modern editorial cartoon and the political caricature of the Georgian period, which was published and disseminated as a single-sheet etching. However, the fallacy that such images yield their meaning directly and near instantaneously is an old one. To speak of the literariness of caricature is to recognize and attend to its syntactical and narrative structures: structures that are themselves constituted through the enmeshing of images and words; the appropriation and parody of literary scenes and tropes; and often-dense networks of allusions to other cultural texts, practices, and traditions. It is also necessary to acknowledge that a print's meaning and sociopolitical orientation comes into focus only when seen in relation to the cultural constellation of which it was a vital and highly self-conscious constituent.

Ultramicroscopic and Coagulation-Fibrinolytic Findings Induced by Tissue Thromboplastin

1979 ◽  
Author(s):  
H Nagata ◽  
T Seya ◽  
Y Oguma ◽  
M Yamauchi ◽  
T Murakoshi ◽  
...  
Keyword(s):  
Endothelial Cells ◽  
Electron Microscope ◽  
Transmission Electron Microscope ◽  
Hypercoagulable State ◽  
Membrane Structures ◽  
Transmission Electron ◽  
Single Sheet ◽  
Tissue Thromboplastin ◽  
Short Time

We have studied the ultrastructures of tissue thromboplastin (T.Tbp) to demonstrate how It changes during coagulation.[Materials and Methods] T.Tbp from lungs of rabbits was used for these studies. It was injected into ear veins of rabbits. Lungs were resected at several seconds, 10sec, 1 min, 5 min, 24 hrs or 48 hrs after the injection. They were examined by transmission electron microscope.[Results] Concentrically arranged membrane structures of the injected T.Tbp disappeared in extremely short time after the injection. 1 min after the injection, fibrin fibers were seen between single sheet of membrane and endothelial cells of capillaries. In the rabbit which had died suddenly after the injection of T.Tbp, multiple pulmonary thrombi made of fibrin and platelets were seen in capillaries. The endothelial cells of capillaries were destroyed and interstitial tissues were edematous.The hypercoagulable state was seen 10~30sec after the start of the injection, indicating the shortening of r of TEG. Then, it gradually returned the level before injection. Moreover, changes of the measurements of fibrinogen, antiplasmin and prekallikrein were also seen after the injection.

Cartography and Conflict: The Board of Ordnance and the Construction of the Military Landscape of Scotland, 1689–1815

2018 ◽  
Author(s):  
Carolyn J. Anderson
Keyword(s):  
Tower Of London ◽  
British Military ◽  
Drawing Room ◽  
Transportation Development ◽  
The Military

Scotland generated four Jacobite risings from 1689 to 1745, plus Franco-Jacobite invasion threats in 1708 and 1744. British military mapping was the responsibility of the London-based Board of Ordnance. After the 1707 Act of Union the Scottish Ordnance Office came under London control and received additional staff. Road making was initiated, associated with Generals George Wade and William Roy. Originally fortress-oriented, the Drawing Room in the Tower of London shifted to producing topographical surveys, oriented after 1746 towards transportation, development and integration.

Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism

2017 ◽  
Vol 70 (3) ◽  
pp. 697-765
Author(s):  
Alexander Stefaniak
Keyword(s):  
Cutting Edge ◽  
Critical Discourse ◽  
Robert Schumann ◽  
Piano Concerto ◽  
Sheet Music ◽  
Variation Sets ◽  
Music Market ◽  
Critical Responses ◽  
Drawing Room ◽  
Variations On A Theme

In her contemporaries’ imaginations Clara Schumann transcended aesthetic pitfalls endemic to virtuosity. Scholars have stressed her performance of canonic repertory as a practice through which she established this image. In this study I argue that her concerts of the 1830s and 1840s also staged an elevated form of virtuosity through showpieces that inhabited the flagship genres of popular pianism and that, for contemporary critics, possessed qualities of interiority that allowed them to transcend merely physical or “mechanical” engagement with virtuosity. They include Henselt's études and variation sets, Chopin's “Là ci darem” Variations, op. 2, and Clara's own Romance variée, op. 3, Piano Concerto, op. 7, and Pirate Variations, op. 8. Her 1830s and early 1840s programming offers a window onto a rich intertwining of critical discourse, her own and her peers’ compositions, and her strategies as a pianist-composer. This context reveals that aspirations about elevating virtuosity shaped a broader, more varied field of repertory, compositional strategies, and critical responses than we have recognized. It was a capacious, flexible ideology and category whose discourses pervaded the sheet music market, the stage, and the drawing room and embraced not only a venerated, canonic tradition but also the latest popularly styled virtuosic vehicles. In the final stages of the article I propose that Clara Schumann's 1853 Variations on a Theme by Robert Schumann, op. 20, alludes to her work of the 1830s and 1840s, evoking the range of guises this pianist-composer gave to her virtuosity in what was already a wide-ranging career.

Food museums as cultural institutions and tourist attractions: Evidence from Italy

2020 ◽  
Author(s):  
Roberta Garibaldi ◽  
Andrea Pozzi
Keyword(s):  
Private Companies ◽  
Tourist Attractions ◽  
Local Stakeholders ◽  
Cooking Shows ◽  
International Audience ◽  
External Relationships ◽  
Museum Experience ◽  
Public Museums ◽  
Modes Of Engagement ◽  
Heritage Interpretation

In recent years, food museums have turned into popular attractions for tourists. Scholars and practitioners have emphasized their role as agents of preservation, education and cultural heritage interpretation, but devoted little attention to tourism related issues. To fill the gap, this paper investigates Italian food museums in order to assess their characteristics, tasks, audience and modes of engagement. Findings suggest that community engagement is an important task along with safeguarding and promoting food heritage. Creating or improving external relationships is crucial for public museums to get recognized for their role and value. For museums operated by private companies, engaging with local stakeholders and residents serves not just a branding purpose, but also in awakening their interest in past and present issues concerning the product (nutrition, safety, taste, cultural and social values). The majority of Italian food museums mainly appeal to domestic travelers, which indicates the potential to reach a larger, international audience. Visibility and language issues remain crucial to reach international tourists but reframing the museum experience is also essential to meet new visitors’ needs. Exploiting traditional exhibitions of food-related objects with multimedia technology and practical activities such as classes, workshops, cooking shows can help in engaging the audiences.

Sharing Seoul: Appropriating Alleys as Communal Space through Localized Sharing Practices

2020 ◽  
Vol 46 (1) ◽  
pp. 99-114
Author(s):  
Im Sik Cho ◽  
Blaž Križnik
Keyword(s):  
Community Engagement ◽  
Public Space ◽  
Social Relationship ◽  
Spatial Dimension ◽  
Urban Life ◽  
Communal Life ◽  
Relationship Networks ◽  
Research Findings ◽  
Communal Space

Sharing practices are an important part of urban life. This article examines the appropriation of alleys as communal space to understand how sharing practices are embedded in localities, how communal space is constituted and maintained, and how this sustains communal life. In this way, the article aims to understand the spatial dimension of sharing practices, and the role of communal space in strengthening social relationship networks and urban sustainability. Seowon Maeul and Samdeok Maeul in Seoul are compared in terms of their urban regeneration approaches, community engagement in planning, street improvement, and the consequences that the transformation had on the appropriation of alleys as communal space. The research findings show that community engagement in planning is as important as the provision of public space if streets are to be appropriated as communal space. Community engagement has changed residents' perception and use of alleys as a shared resource in the neighbourhood by improving their capacity to act collectively and collaborate with other stakeholders in addressing problems and opportunities in cities.

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