Vibrant Art on the Grand Tour in Anna Jameson’s Diary of an Ennuyée

2020 ◽  
pp. 107-124
Author(s):  
Holly Gallagher
Keyword(s):  
Grand Tour ◽  
Material World ◽  
Formal Assessment ◽  
Art Writing

Anna Jameson’s Diary of an Ennuyée, first published in 1826, follows an unnamed narrator, a dispirited female traveller, who moves through the locales of France and Italy, surveying the objects of the Grand Tour. In the reflective space of her diary, the ennuyée begins to synthesize this material world she moves in, to understand herself as part of that world of objects, and to challenge the art viewers and artists who instead perceive materiality from a distance. Following Jane Bennett’s proposition of the ‘active, earthy, not-quite-human capaciousness’ of matter, this essay argues that the diarist recognizes and contemplates the unexpected vibrancy of the materials that she encounters. The narrator demonstrates that art writing should be more than an absolute formal assessment of quality; instead, she shows how artifacts reveal their capacity to unsettle human viewers in unexpected ways and to shape networks composed of things from diverse spaces and times.

scholarly journals Thomas Jones’ Neapolitan Kitchen: The Material Cultures of Food on the Grand Tour

2020 ◽  
Vol 24 (1) ◽  
pp. 84-102
Author(s):  
Melissa Calaresu
Keyword(s):  
Eighteenth Century ◽  
Material Culture ◽  
Space Time ◽  
Grand Tour ◽  
Material World ◽  
Time Capsule ◽  
The City

Abstract The Welsh painter, Thomas Jones, recorded in minute detail the prices, origin, and types of food and services for each day of his family’s stay in Naples from their arrival from Rome in 1780 to their departure for England in 1783. His “Italian account book” has not been studied before in any depth, except in relation to his activities as an artist. However, this “time-capsule” of a Grand Tour household provides an extraordinarily vivid entry into the material world of urban provisioning in one of the largest cities in eighteenth-century Europe, by linking the economy of the street to wider networks of provisioning from outside of the city. It also provides a better understanding of the extent of acculturation of British residents in Italy. Space, time, and the interconnectedness between the home and the street are central themes in this material culture analysis of food on the Grand Tour.

A Survey of Speech-Language Pathologists' Approaches to Assessing Social Communication Disorders in Children

2020 ◽  
pp. 1-17
Author(s):  
Kristen Izaryk ◽  
Robin Edge ◽  
Dawn Lechwar
Keyword(s):  
Best Practices ◽  
Communication Disorders ◽  
Assessment Tools ◽  
Self Report ◽  
Speech Language Pathologists ◽  
Teacher Report ◽  
Formal Assessment ◽  
Language Sampling ◽  
Specific Assessment ◽  
Social Communication Disorders

Purpose The purpose of this article is to explore and describe the approaches and specific assessment tools that speech-language pathologists are currently using to assess social communication disorders (SCDs) in children, in relation to current best practices. Method Ninety-four speech-language pathologists completed an online survey asking them to identify which of the following approaches they use to assess children with SCD: parent/teacher report, naturalistic observation, formal assessment, language sample analysis, interviews, semistructured tasks, and peer/self-report. Participants were also asked to identify specific assessment tools they use within each approach. Results Participants most commonly assess SCDs by combining interviews, naturalistic observation, language sampling, parent/teacher report, and formal assessment. Semistructured tasks and peer/self-report tools were less frequently utilized. Several established parent/teacher report and formal assessment tools were commonly identified for assessing SCDs. Most participants use an informal approach for interviews, language sampling, and naturalistic observations in their SCD assessment process. Conclusions Generally, participants follow best practices for assessing SCDs by combining several different approaches. Some considerations for future assessment are identified, including the use of established protocols in the place of informal approaches in order to make the assessment of SCDs more systematic. Future directions for research are discussed.

Material world goes on camera

Nature ◽  
2006 ◽  
Author(s):  
Katharine Sanderson
Keyword(s):  
Material World

Keeping the Conversation going: Fisher & More and Henry VIII’s intellectual Tyranny

Moreana ◽  
2012 ◽  
Vol 49 (Number 189- (3-4) ◽  
pp. 127-140 ◽  
Author(s):  
Cecilia Hatt
Keyword(s):  
Thomas More ◽  
Material World ◽  
Intellectual Activities

I consider the effects of Henry VIII’s attempts to exert control over the intellectual activities of his articulate and argumentative subjects, whose free speculation he attempted radically to limit, while legitimising his own decisions by insisting that they were the result of discussion and the advice of others. I shall discuss the ways in which both Thomas More and John Fisher contrived to “converse” within a perilously maintained community of trust. I would also like briefly to consider the implications of an alternative Platonist stoicism that disputes, if not the reality, at least the significance of the material world.

The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽  
2018 ◽  
Vol 10 ◽  
Author(s):  
Petru Adrian Danciu
Keyword(s):  
Mutual Recognition ◽  
The Other ◽  
Human Being ◽  
Material World ◽  
Face To Face ◽  
The People ◽  
Musical History ◽  
The Face ◽  
The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

A GRAND TOUR OF THE OCEAN BASINS

2017 ◽  
Author(s):  
Declan G. De Paor ◽  
◽  
Geode Team
Keyword(s):  
Grand Tour
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