Championing the 'Alien Church': The Religious Politics of Late Victorian and Edwardian Wales – in Cartoons

2021 ◽  
Vol 7 (1) ◽  
pp. 34-68
Author(s):  
Chris Williams
Keyword(s):  
Visual Culture ◽  
Religious Politics ◽  
Keen Interest ◽  
The World ◽  
Established Church

J. M. Staniforth was a popular cartoonist working (from the early 1890s until his death in 1921) for the Cardiff Western Mail and the Sunday News of the World. Himself an Anglican, he took a keen interest in the religious politics of the day, particularly those which involved Nonconformist and Liberal attacks on the position of the Established Church. Recognized as an important commentator by both opponents (such as David Lloyd George) and fellow Anglicans (including a number of Anglican clerics), Staniforth's cartoons challenged the assumptions which governed the arguments in favour of disestablishment and disendowment, as well as critiquing the motives and ethics of their proponents. A study of his work affords fascinating insights into the visual culture of some of the most hardfought debates of late Victorian and Edwardian Wales.

On the Nomenclature of the Vinegar Eelworm

1927 ◽  
Vol 5 (3) ◽  
pp. 133-142 ◽  
Author(s):  
B. G. Peters
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
Keen Interest ◽  
Naked Eye ◽  
The World

This eelworm, only just visible to the naked eye, and quite common in vinegar in all parts of the world, has long been known to zoologists, and indeed was an object of keen interest and discussion to the naturalists of the seventeenth century. Petrus Borellus [3], for instance, enthusiastic over the recent adoption of the microscope for researches in natural history, published in 1656 his “Observationum Microcospicarum Centuria,” in which he leads off with a note “De Vermibus aceti.” In the twelfth edition of the “Systema Naturae” (1767), Linnaeus included a species redivivum in that final genus of the Regnum Animale so appropriately named Chaos. This species of animal he says, “Habitat in Aceto & Glutine Bibliopegorum.”.

scholarly journals infância, cultura visual e educação

2020 ◽  
Vol 16 (36) ◽  
pp. 01-20
Author(s):  
Adriana Hoffmann Fernandes ◽  
Helenice Mirabelli Cassino
Keyword(s):  
Elementary School ◽  
Visual Culture ◽  
Philosophical Approach ◽  
Multiple Images ◽  
The World ◽  
Visual Framing ◽  
The Media ◽  
The Relationship ◽  
The Way

This article combines thoughts about childhood, visual culture and education. It is known that we live among multiple images that shape the way we see our reality, and researchers in the visual culture field investigate how this role is played out in our culture. The goal is to make some applications those ideas, to think about the relationship between the images and education. This article tries to grasp what visual culture is and in what ways presumptions about childhood generate and are generated by this association. It also discusses the genesis of these presumptions and the images they generate through a philosophical approach, questioning the role of education in a culture tied to the media, and about how children, who are familiar with multiple screens, presage a new visual literacy. We see how images play a fundamental role in the way children give meaning to the world around them and to themselves, in the context of their local culture. Given this context, it is necessary to consider how visual culture is tied to the elementary school, and what challenges confront the generation of wider and more creative ways to approach visual framing in children’s education.

Freeze Frame: historic polar images

Polar Record ◽  
2007 ◽  
Vol 43 (4) ◽  
pp. 366-368
Author(s):  
Huw Lewis-Jones
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Polar Regions ◽  
Research Project ◽  
University Of Cambridge ◽  
The World ◽  
Iconic Images ◽  
Polar Research Institute ◽  
World Class ◽  
Research Institute

ABSTRACTSince the development of photography in the mid-nineteenth century, exploration has created iconic images of the polar regions. A new two-year research project, entitled Freeze Frame, using the world-class collections at the Scott Polar Research Institute, University of Cambridge, will bring this remarkable visual culture forward for new audiences.

scholarly journals introduction

2005 ◽  
Vol 183 ◽  
pp. 523-531 ◽  
Author(s):  
michel hockx ◽  
julia strauss
Keyword(s):  
Middle Class ◽  
Visual Culture ◽  
Consumer Culture ◽  
Job Insecurity ◽  
Market Manipulation ◽  
The Past ◽  
Production And Consumption ◽  
The World ◽  
Positive Experiences ◽  
Complex Phenomena

this collection offers a variety of perspectives on culture in contemporary china. we begin and end with pieces by jing wang and deborah davis on the production and consumption of culture in general, before moving on to three specific areas: visual culture, music and poetry. jing wang's opening piece on “bourgeois bohemians” (bobos) in china revolves around the all-important question of how taste is constructed and a multiplicity of lifestyles imagined. in china as elsewhere in the world, lifestyles are first imagined and transmitted through advertising. wang describes how marketing campaigns propagate idealized lifestyles to different segments of china's self identified urban middle class; notably the bohemian and the xin xin renlei. deborah davis focuses on the consumption end of culture, suggesting that for all the real resentments and worries engendered by growing income inequality and job insecurity, urbanites in shanghai experience consumer culture and the pursuit of individual taste and comfort in the home through shopping to be positive experiences, particularly when juxtaposed against the deprivations of the past. both wang and davis show that the production and consumption of culture are complex phenomena that go beyond mere market manipulation. there is substantial agency involved, from urbanites joyfully participating in redecoration of their flats to the ways in which niche segments of the urban middle class separate into different “tribes.”the braester, denton and finnane essays focus on different aspects of the production and consumption of visual culture: film, museums and fashion. braester suggests that one cannot sharply differentiate commercial film from art film on the basis of content or aesthetics, as directors previously known for making art films move into commercials, and both share similar sensibilities.

Peripheral Visions / Global Sounds

2018 ◽  
Author(s):  
José Colmeiro
Keyword(s):  
Visual Culture ◽  
Popular Music ◽  
Media Studies ◽  
The State ◽  
Cultural Identities ◽  
The Real ◽  
Border Zones ◽  
Global Age ◽  
The World ◽  
The Subject

Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.

Interior decorating in nineteenth-century France

2018 ◽  
Author(s):  
Anca I. Lasc
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Interior Design ◽  
Professional Group ◽  
Department Stores ◽  
Middle Classes ◽  
The World ◽  
Nineteenth Century France ◽  
The Ideal

This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.

scholarly journals Contribution to art history: Ornament and its regulations

Sinteze ◽  
2020 ◽  
pp. 79-85
Author(s):  
Tamara Žderić
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Personal Experience ◽  
Fine Art ◽  
Art Practice ◽  
Human Race ◽  
The World ◽  
Long Time ◽  
The Subject ◽  
Complex Forms

The ornament is a part of every visual culture in the world. Its history goes back to early ages of human race. It is one of the most important fine art categories. The ornament was less important fine art category for a long time. The subject of this paper are various types of ornament altogether with personal experience in creating ornaments. The main aim was to reveal basis of ornament, its features and also to put in focus the importance of our attention in art process. Ornament has four categories determined by its appereance. Its complex forms, mathematical approach and lots of details are features I found similar in my art practice (paintings or drawings with various themes). The conclusions derived from comparison of this two various types of ornaments are contribution to examinations of its history through the eye of the artist.

scholarly journals A body of evidence : ‘feeling in seeing’ predicts realness judgments for photojournalistic images.

2020 ◽  
Author(s):  
Ruben Azevedo ◽  
Raffaele Tucciarelli ◽  
Sophie De Beukelaer ◽  
Klaudia Ambroziak ◽  
Isla Jones ◽  
...  
Keyword(s):  
Visual Culture ◽  
Cognitive Processing ◽  
Crucial Role ◽  
Digital Age ◽  
Human Beings ◽  
Cognitive Mechanisms ◽  
Affective Arousal ◽  
Cultural Effects ◽  
Alternative Facts ◽  
The World

Photography and photojournalism frame our experience of the world, especially in a culture powered by images at an unprecedented level. Images in the digital age and the era of alternative facts mediate our relations to other human beings and make our negotiation between what is real or fake challenging. We investigated how our visceral responses, as the basis of subjective feelings, influence our relation and responses to the authenticity of photojournalistic images. Higher neurophysiological and affective arousal at the first perception of an image predicted the probability with which participants would judge that image as ‘real’ in a subsequent session. These findings highlight the crucial role that physiology plays in engaging us with imagery, beyond cognitive processing. ‘Feeling in seeing’ seems to be a salient signal that at least partly determines our beliefs in a culture powered by images. By considering at the same time the underlying neural, physiological and cognitive mechanisms that guide our responses to images as well as the contextual cultural effects on how these mechanisms are recruited, these findings contribute to long-standing but still timely and multidisciplinary debates in visual culture.

scholarly journals VISUAL CULTURE AND ITS CLOSE AFFILIATION WITH FEMINISM AND CRITICAL RACE THEORY

2020 ◽  
Vol 7 (12) ◽  
pp. 209-215
Author(s):  
Sur Sharma
Keyword(s):  
Critical Race Theory ◽  
Visual Culture ◽  
Point Of View ◽  
Visual Images ◽  
Critical Race ◽  
Race Theory ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The People ◽  
The World

Visual culture attempts to expose that other facet of the world which almost hitherto remains concealed from the majority of the populace. This is because the people across the globe were fed with the visual images that largely went on a par with the interests of the white Europeans. In other words, visual culture views the world from a “subaltern” perspective and challenges the norms set by “a white European Christian male” centric outlook. To put it simply, visual culture studies and interprets the world, which is made up of visual images, from the point of view of marginalized, the suppressed or the disadvantaged. In this connection, the study of visual culture enjoys a close affiliation with feminism and critical race theory.

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