Hogarth and Bad Taste: The Sculptures at St. Bartholomew’s as Satirical Inspiration

2018 ◽  
Author(s):  
Timothy Revell
Keyword(s):  
Cultural Change ◽  
Henry Viii ◽  
Classical Architecture ◽  
The Arts ◽  
Intercultural Exchange ◽  
Italian Art ◽  
Rake's Progress ◽  
Political Turmoil ◽  
The Town ◽  
British Culture

The engraving Masquerades and Operas (1724), also known as The Bad Taste of the Town, was William Hogarth’s first self-published work. Despite this milestone, it has become a footnote to more studied works such as The Rake’s Progress. I have discovered that Hogarth used sculptures from the Henry VIII Gate at St. Bartholomew’s Hospital in London on his depiction of the Great Gate of Burlington House (home to the Royal Academy of Arts); I believe this is an overlooked element of the print that signals his distaste for foreign art. Hogarth strongly opposed Italianate painting and architecture, even painting frescoes at St. Bartholomew’s gratis, after learning the commission had gone to an Italian. Through visual, political, and contextual analysis, I argue that allusions to Raphael and Michelangelo in Masquerades and Operas associate Italian art with “lameness” and “disease” and are meant to show the decadence of Italian art and its impact on the arts in England. Their position on the Henry VIII Gate further alludes to the malignancy of the aristocracy, whom Hogarth saw as adversely affecting British culture by adopting foreign influences. The Brexit vote and global political turmoil are at the forefront of today’s political situation. In this regard, it is valuable to look back at times of significant cultural change and examine why artists like Hogarth, and contrastingly, Hogarth’s nemesis William Kent (a proponent of classical architecture inspired by Italian examples), strove for and against intercultural exchange.

scholarly journals “Guardianes de la tradición” Resistencias al cambio político y socio-cultural del tardofranquismo y la Transición en Andalucía oriental = “Guardians of tradition”. Resistances to the political and socio cultural change during the late Francoism and the transition to democracy in Eastern Andalusia

2020 ◽  
pp. 344
Author(s):  
Gloria Román Ruiz
Keyword(s):  
Cultural Change ◽  
Social Groups ◽  
Cultural Transformation ◽  
Transition To Democracy ◽  
The Political ◽  
San Jose ◽  
Palabras Clave ◽  
The Sixties ◽  
The Impact ◽  
The Town

Resumen: El artículo se interroga por la naturaleza y la intensidad de las resistencias que algunos grupos sociales plantearon al proceso de transformación política y socio-cultural que comenzó a finales de los años sesenta y se extendió a lo largo de los setenta. Presta atención a aquellos sujetos que alzaron su voz en defensa de la tradición y en contra de la modernidad, así como a la incidencia que tuvieron sus acciones y comportamientos de oposición sobre el proceso de democratización. En primer lugar, el texto se detiene en las acciones de resistencia protagonizadas por feligreses conservadores que abrigaban actitudes políticas aquiescentes con la dictadura y acudían a escuchar misa a una parroquia regentada por un cura progresista. En segundo lugar, atiende a las resistencias expresadas por la comunidad parroquial de la iglesia de San José de Estepona (Málaga) ante el proyecto para la instauración de un complejo nudista en la localidad en 1978.Palabras clave: tardofranquismo, transición, democratización, resistencias al cambio, conservadurismo.Abstract: The article wonders about the nature and the intensity of the resistances set in motion by some social groups against the process of political and socio-cultural transformation that began at the end of the sixties and extended throughout the seventies. It pays attention to those subjects who raised their voice in defence of the tradition and against the modernity, as well as to the impact of their actions and opposition behaviours on the process of democratization. In the first place, the paper deals with the actions of resistance activated by the conservative parishioners who had acquiescent political attitudes towards the dictatorship and who attended to a parish ruled by a progressive priest. Secondly, it focuses on the resistances expressed by the parochial community of the San José church (Estepona, Málaga) caused by a nudist project in the town in 1978.Keywords: late Francoism, transition to democracy, democratization, resistances to change, conservatism.

Dramatic Disappearances: Mary Elizabeth Braddon and the Staging of Theatrical Character

1997 ◽  
Vol 25 (2) ◽  
pp. 279-291 ◽  
Author(s):  
Ruth Burridge Lindemann
Keyword(s):  
Charles Dickens ◽  
Cultural Change ◽  
Sir Walter Scott ◽  
Mary Elizabeth Braddon ◽  
Middle Classes ◽  
The Arts ◽  
Walter Scott ◽  
Dramatic Adaptations ◽  
Sensation Novels ◽  
Lady Audley's Secret

Finding themselves with more money and more time in which to spend it, the middle classes began in the 1860s to renegotiate their relationship to the arts, and to theater in particular. Recording and rendering visible this process of cultural change are the popular sensation novels of Mary Elizabeth Braddon, author of Lady Audley's Secret, and the numerous dramatic adaptations of her work. Braddon shares with Charles Dickens and Sir Walter Scott the distinction of being one of the novelists whose work was most frequently adapted for the stage. Unlike Dickens, however, she often responded favorably to the efforts of her adapters. This congenial relationship resulted, no doubt, from the three years she spent performing on the provincial stage in the late 1850s. Her continuing interest in the theater and theater people is reflected in their frequent appearance in her novels.

The Arts and Humanities in Climate Change Engagement

2017 ◽  
Author(s):  
Julia B. Corbett ◽  
Brett Clark
Keyword(s):  
Climate Change ◽  
Cultural Change ◽  
Scientific Information ◽  
Communication Strategy ◽  
Wicked Problem ◽  
Moral Norms ◽  
Individual Level ◽  
Global Issues ◽  
Arts And Humanities ◽  
The Arts

The communication strategy of simply sharing more scientific information has not effectively engaged and connected people to climate change in ways that facilitate understanding and encourage action. In part, this is because climate change is a so-called wicked problem, given that it is socially complex, has many interdependencies, and lacks simple solutions. For many people, climate change is generally seen as something abstract and distant—something that they know about, but do not “feel.” The arts and humanities can play an important role in disrupting the social and cultural worldviews that filter climate information and separate the public from the reality of climate change. Whether it is the visual arts, dance, theater, literature, comedy, or film, the arts and humanities present engaging stories, corporally sensed and felt experiences, awareness of interdependency with the world, emotional meanings, and connection with place. Climate stories, especially those based on lived experiences, offer distinct ways to engage a variety of senses. They allow the “invisibility” of climate change to be seen, felt, and imagined in the past, present, and future. They connect global issues to conditions close to home and create space to grieve and experience loss. They encourage critical reflection of existing social structures and cultural and moral norms, thus facilitating engagement beyond the individual level. The arts and humanities hold great potential to help spur necessary social and cultural change, but research is needed on their reach and efficacy.

III.—The Iconography of St. Thomas of Canterbury

Archaeologia ◽  
1929 ◽  
Vol 79 ◽  
pp. 29-54
Author(s):  
Tancred Borenius
Keyword(s):  
Henry Viii ◽  
Great Abundance ◽  
Artistic Production ◽  
The Arts ◽  
The Many

The materials for a study of the iconography of St. Thomas Becket still exist in great abundance. On the canonization of the saint in 1173, his cult evidently spread all over Europe with lightning speed, and the consequences of this were very soon to be seen in all the arts. Much of the artistic production of different countries and centuries relating to the personality and life of St. Thomas has, of course, perished: and in England, after the de-canonization of ‘Bishop Becket’, decreed by Henry VIII, a veritable war was, in 1538, declared on the innumerable representations of the saint then existing in this country, the proclamation enacting expressly that ‘his images and pictures throughout the whole realm shall be put down and avoided out of all churches and chapels and other places’. Where the destruction was not complete, defacement of varying extent was resorted to, as is clear, for instance, from the many illuminations of manuscripts in which the rendering of St. Thomas Becket has been disfigured or partly obliterated. But even so, as already mentioned, there still exists plenty of documentation on which to base a study of the iconography of St. Thomas Becket; and I have now for some time been gathering material with that end in view. In doing so my endeavour has been to work as systematically as possible, though, as all students of iconography can aver, chance often gives valuable help in the pursuit of our quest. I had an experience of the working of chance only recently when a visit to Salamanca, entirely unconnected with my interest in St. Thomas Becket, suddenly brought me up against an extremely interesting Romanesque church of San Tomás Cantuariense, from which, however, all traces of the representation of the saint had vanished, except a very commonplace figure of a mitred bishop in carved and painted wood of quite recent date. Even though I have kept photographers busy over a wider area of Europe than I could anticipate when first embarking on this task, I dare not hope that I have as yet surveyed my material with anything approaching completeness; but the data I have brought together are, nevertheless, perhaps sufficient to allow certain deductions to be made and certain lines of evolution to be laid down.

scholarly journals IV.—Rules of the Free School at Saffron Walden, in Essex, in the reign of Henry VIII., communicated by Thomas Wright, Esq., F.S.A., in a letter to Captain W. H. Smyth, R.N., F.R.S., Director

Archaeologia ◽  
1851 ◽  
Vol 34 (1) ◽  
pp. 37-41
Author(s):  
Thomas Wright
Keyword(s):  
Human Intelligence ◽  
Henry Viii ◽  
Grammar School ◽  
Free School ◽  
History Of ◽  
The Government ◽  
The Town

In turning over the records of the town of Saffron Walden a few weeks ago, I found a volume of rather miscellaneous matter relating to the government of the town, which appears to be chiefly in the writing of the time of Henry the Eighth, and in which are two programmes of Regulations for the management of the Free Grammar School established there in 1525, drawn up by two different masters. They are documents of a kind which are rare, and I think of some interest, connected with one of the most important of all subjects—the history of the development of the human intelligence.

scholarly journals Superdiversiteit en culturele mobiliteit in Europees hoger onderwijs: een casestudie in culturele geschiedenis

2021 ◽  
Vol 69 (5 Zeszyt specjalny) ◽  
pp. 187-202
Author(s):  
Ludo Beheydt
Keyword(s):  
Learning Styles ◽  
Cultural History ◽  
Cultural Change ◽  
Sudden Change ◽  
Complex Mixture ◽  
Course Content ◽  
The Arts ◽  
History Of ◽  
Cultural Persistence ◽  
Cultural Mobility

The present article shows how the changing societal context in Europe is imposing a reshaping of the internationalisation of higher education. It argues that internationalisation has mainly focused on intensifying the mobility of students and staff, but has neglected the drastic change in European society brought about by “super-diversity” (Vertovec, “Super-diversity” and Super-diversity), that “diversification of diversity” which, over a couple of decades, has transformed the population of Europe into a highly complex mixture of people from different places, with different languages, religions and cultures. The consequence of this sudden change is that there is now an urgent need to “move beyond mobility” and to reshape internationalisation through “cultural mobility” (Greenblatt) in course content and learning styles. The second part of this article elaborates on a proposal for concrete course content in line with Greenblatt’s manifest to modify conventional ways of thinking about mobility. Taking account of “cultural mobility”, the proposed course in the Cultural History of the Arts tries to create a balance between cultural persistence and cultural change by introducing international content and interculturalism. The case study thereby highlights possible directions for future internationalised course development.

scholarly journals An Inquiry into the Theory of the Matrix: Subjectivity, Gaze, and Desire in Kristina Inčiūraitė’s Video the Meeting (2012)

2019 ◽  
Vol 15 (1) ◽  
pp. 83-95
Author(s):  
Diana Romanskaitė
Keyword(s):  
Collective Memory ◽  
Cultural Change ◽  
Sexual Difference ◽  
Matrix Theory ◽  
Lacanian Psychoanalysis ◽  
The Past ◽  
Feminist Scholar ◽  
The Matrix ◽  
The Subject ◽  
The Town

Summary This article deals with the Matrix theory of subjectivity, gaze, and desire by feminist scholar Bracha Lichtenberg Ettinger. Matrixial framework is explored in comparison to Lacanian psychoanalysis. The essay denotes the differences between split Lacanian model of the subject and Matrixial subjectivity based on plurality and continuity. I argue that Lacanian model which grounds the subject in fundamental lack and loss of corporal reality is insufficient for explaining specifically feminine experience in terms of temporality and collective memory, whereas the Matrix theory provides a conceptual apparatus for positive female identification and alliances between the past and the present. Ettinger’s Matrixial model is applied in the analysis of the 2012 video The Meeting by contemporary Lithuanian artist Kristina Inčiūraitė. I claim that the mode of desire in The Meeting is based on Matrixial gaze, which allows to formulate memory as co-created by two partners who share archaic knowledge of the Real, grounded in common relation to female sexual difference and intrauterine condition. Therefore, the article interprets the imagery of the town of Svetlogorsk in the video as coemerged mental images that affect each of the partners. I conclude that the Matrix theory overcomes the phallocentrism of classical psychoanalysis, allowing to reformulate the subject in terms of connectivity, compassion, and abilities to process Other’s trauma through positive cultural change.

scholarly journals Of Chiefs and Kings

Ethnologies ◽  
2017 ◽  
Vol 37 (2) ◽  
pp. 103-130
Author(s):  
Annette de Stecher
Keyword(s):  
Seventeenth Century ◽  
Indigenous Identity ◽  
Popular Imagination ◽  
Lower Canada ◽  
Public Representation ◽  
The Arts ◽  
Intercultural Exchange ◽  
History Of ◽  
Important Time

“Of Chiefs and Kings” is about the role of Wendat diplomatic traditions, explored through documentary and pictorial evidence and the arts of ceremonial dress. I will describe diplomatic interactions between Wendat and British communities between 1838 and 1842, through which the Wendat affirmed commitments of military and civilian support and asserted a continued Wendat presence in their traditional territories. By their dynamic public representation of Indigenous identity, they denied the romanticized notion of the vanishing race, deeply rooted in the popular imagination. These events marked a particular moment within a Wendat history of diplomatic engagement and intercultural exchange with European leaders, extending back to the early seventeenth century. Wendat and British first-hand accounts furnish perspectives of individual members of each community, while Wendat elders’ recollections of ceremonial traditions give important community knowledge of the significance of these events to the Wendat, at an important time in the history of Wendake and Lower Canada.

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