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Journal articles on the topic 'Aristocratic House'
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1
Belcher, Victor. "The Aristocratic Town House in London." London Journal 19, no. 1 (May 1994): 89–93. http://dx.doi.org/10.1179/ldn.1994.19.1.89.
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Parkhomchuk, Mykhaiolo. "HISTORICAL DEVELOPMENT AND BASIC PRINCIPLES OF TEA ARCHITECTURE IN JAPAN." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 90–103. http://dx.doi.org/10.32347/2077-3455.2022.62.90-103.
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This paper reviews several examples of Japanese tea architecture in order to identify its specific features in the context of its historical development. Based on this, the main principles of the formation of tea architecture in Japan are defined. The analysis is conducted in relation to three main factors that influenced the formation of tea architecture: vernacular architecture, noble architecture and the philosophical ideas of Zen Buddhism. As an example, three tea houses of the master Sen no Rikyu (1522-1591) were used, namely: Kasa-tei, Shigure-tei (Todaiji Monastery, Kyoto) and Tai-an (Myoki-an Monastery, Kyoto), and the palace of Villa Katsura (1620-1658), commissioned by Prince Toshihito. The Kasa-tei and Shigure-tei houses are characterised by active inheriting of the structural elements and forms of vernacular housing. The Tai-an is a vivid reflection of aristocratic and Zen traditions. In the architecture of villa Katsura there is an influence of several directions of aristocratic and vernacular architectural styles. In each example, the influence of these three factors was detected at several levels: in the formation of the environment of the tea house (tea garden), in the structure and composition of the buildings, in the internal space of the buildings and at the level of semantics of the complexes. Among the variety of teahouses, at each determined level the preference may be given to one or another stylistic direction. For example, the traditions of vernacular architecture in the Kasa-tei and Shigure-tei houses are increasingly expressed in the exterior of the buildings and in the overall character of the complex. The aristocratic and ascetic spirit of the Tai-an house is mainly expressed in the interior of the building. In the architecture of Villa Katsura – similar to the examples mentioned above – the tradition of vernacular architecture is mainly present in the exterior and surroundings of the building, while the interior stays within the aristocratic tradition. The basic principles of tea architecture identified in the paper are arranged according to their origin and localization of application in the final table.
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Port, M. H. "West End Palaces: The Aristocratic Town House in London, 1730–1830." London Journal 20, no. 1 (May 1, 1995): 17–46. http://dx.doi.org/10.1179/030580395796112876.
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KOZYREVA, E. A. "ARISTOCRATIC SOCIETY ESTATES AS PHENOMENON OF HISTORICAL AND CITY PLANNING LIFE OF ST.-PETERSBURG (THE STROGANOV’S ESTATE CASE STUDIES)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 3 (June 27, 2019): 67–76. http://dx.doi.org/10.31675/1607-1859-2019-21-3-67-76.
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The paper studies the phenomenon of the aristocratic society estates as a part of history and city-forming aspect in the development of St.-Petersburg and its surroundings. The relevance of this paper is that at present time a lot of attention is paid to adaptation of the cultural heritage monuments, including estates. The aim of the paper is to identify the estates of the aristocratic society and propose measures for their preservation. The unique characteristics include: accommodation in previously undeveloped territories, large park area, a manor house and park buildings that are not utilitarian in nature. The analytical method of research is used. The history and formation, construction and reconstruction of the of Stroganov‟s estate is one of the examples of the aristocratic society estates. This estate was created by talented and outstanding architects, but already in the 19th century, that territory began to develop for needs of the city. The estate relates to the category of lost estates, since the buildings were preserved to our days in the original form, and only the manor house and guardhouses are preserved. It can be concluded that such monuments of the cultural heritage should be preserved for future generations as important characteristics of the urban planning and cultural life of St.-Petersburg. It is proposed to use public-private partnership for the implementation of projects on this type of cultural heritage sites.
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Lambert, S. D. "The Attic Genos." Classical Quarterly 49, no. 2 (December 1999): 484–89. http://dx.doi.org/10.1093/cq/49.2.484.
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Over twenty years since the influential revisionist studies of Roussel and Bourriot, agreement on a satisfactory theory of the Attic genos seems as elusive as ever. Although they differed on details, these two scholars were agreed in their rejection of the old monolithic account of the genos as aristocratic family whose institutionalized control over state cults and phratry admissions in the historical period was a relic of a wider political dominance. Roussel and Bourriot instead proposed a tripartite model according to which the formal genos-kome—a more or less localized community similar to the later deme, with hereditary but socio-economically diverse membership, and enjoying, as a tighter community well placed to regulate its own admissions, automatic access to the wider phratry—was distinguishable both from aristocratic families, such as the Peisistratidai or Alkmeonidai, and priestly houses, such as the Kerykes and Eumolpidai of Eleusis. Subsequent discussion has moved in several directions. My analysis of the relationship between phratry and genos followed a broadly revisionist line. I found no good evidence for gene controlling the access to phratries of persons who were not genos members and presented a new interpretation of the crucial Demotionidai decrees in which, contrary to prevailing theories, neither of the two groups mentioned in them—the Demotionidai and the House (oikos) of the Dekeleieis—was a privileged subgroup dominating the whole. Rather, I suggested that the Demotionidai were a phratry in process of fission, the Dekelean House a product of this process. Others, however, have taken the debate in the other direction, as it were reprivileging the genos.
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Barron, Caroline M. "Centres of Conspicuous Consumption: The Aristocratic Town House in London 1200–1550." London Journal 20, no. 1 (May 1, 1995): 1–16. http://dx.doi.org/10.1179/030580395796112830.
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Thompson, F. M. L. "Moving Frontiers and the Fortunes of the Aristocratic Town House 1830–1930." London Journal 20, no. 1 (May 1, 1995): 67–78. http://dx.doi.org/10.1179/030580395796112867.
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Barron, Caroline M. "Centres of Conspicuous Consumption: The Aristocratic Town House in London, 1200-1550." London Journal 20, no. 1 (May 1995): 1–16. http://dx.doi.org/10.1179/ldn.1995.20.1.1.
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Thompson, F. M. L. "Moving Frontiers and the Fortunes of the Aristocratic Town House, 1830-1930." London Journal 20, no. 1 (May 1995): 67–78. http://dx.doi.org/10.1179/ldn.1995.20.1.67.
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Wilson, Rachel. "Aspects of Irish aristocratic life: essays on the FitzGeralds and Carton House." Irish Studies Review 26, no. 2 (March 15, 2018): 267–68. http://dx.doi.org/10.1080/09670882.2018.1451733.
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Zsámba, Renáta. "Houses as Lieux de Mémoire in Margery Allingham’s Crime Fiction." Crime Fiction Studies 2, no. 2 (September 2021): 218–33. http://dx.doi.org/10.3366/cfs.2021.0048.
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This article discusses the house as a site of memory in the novels of Margery Allingham, where it embodies a tension between the past and the present that turns the domestic milieu into a place of horror. Stemming from Susan Rowland’s claim that Golden Age authors did not write ‘unproblematically conservative country house mysteries’ (43), this paper uses Svetlana Boym’s theory of restorative and reflective nostalgia and Pierre Nora’s concept of lieux de mémoire (sites of memory) to read Allingham’s novels, which critically observe the sustainment of a vision of the past after the Great War. In her work, country houses like the eponymous one in The Crime at Black Dudley (1929), are, despite their aristocratic grandeur, perfect scenes for murder. While the countryside is associated with a nostalgic innocence, it is also contaminated by the intrusion of the present, as in Sweet Danger (1933). Family secrets are also reasons for crime, as we see in Police at the Funeral (1931). Hide My Eyes (1958) relocates the nostalgic atmosphere to a suburban house converted into a museum of ‘curios’, which operates as an ironic allegory of a nation wrapped up in its own history.
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Salvador-González, José María. "The House/Palace in Annunciations of the 15th Century." Eikon / Imago 10 (February 8, 2021): 391–406. http://dx.doi.org/10.5209/eiko.74161.
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This article seeks to highlight the doctrinal meanings enclosed in the representation of the house of Mary in the form of a palace or an aristocratic residence in seven images of the Annunciation of the 15th century. To justify our iconographic interpretations in this sense, we based on the analysis of many exegetical comments with which many Latin Fathers and theologians interpreted several metaphorical expressions with dogmatic projection, such as domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis, and other analogous terms. As a methodological strategy, we use here a double comparative analysis: in the first instance, analyzing a series of patristic and theological texts that exegetically interpret the metaphors above; secondly, relating these exegetical texts with the eight Annunciations explained here.
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Soofastaei, Elaheh, and Sayyed Ali Mirenayat. "Broken Marriage in Aristocratic Societies in Edith Wharton’s Selected Novels." International Letters of Social and Humanistic Sciences 49 (March 2015): 192–96. http://dx.doi.org/10.18052/www.scipress.com/ilshs.49.192.
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Family is a bridge between individual and society. In my paper, I will survey broken marriage and individual dissatisfaction in two novels by Edith Wharton. The novels in question are The House of Mirth (1905) and The Age of Innocence (1920). Edith Wharton portrays her concern by the conflict between the individuals and the social groups which they live in there. Her treatment of the family is always in association with the bourgeois society, with the ambitious stock brokers from the west. This conflict can be seen in their attitudes to love, marriage, divorce, and remarriage. In the novels, Marriage, as an indissoluble matter and even an invariable failure, is main concept and sex outside marriage is meaningless. Wharton shows divorce in aristocratic societies in an old-fashioned lifestyle.
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Groff, Martin J. "“To Continue Their Illustrious Breed”: Aristocracy, Democracy, and the Search for Dignity in The House of the Seven Gables." Nathaniel Hawthorne Review 47, no. 2 (December 1, 2021): 187–209. http://dx.doi.org/10.5325/nathhawtrevi.47.2.0187.
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ABSTRACT Political philosophers have noted that while modern democracies define dignity as universal human worth, nineteenth-century Americans conceptualized it in terms of social status and rank hierarchy. However, there was considerable tension in this period between the traditional aristocratic ideal and a more modern liberal philosophy of where this rank-based dignity came from and how someone could possess it. This article demonstrates that Nathaniel Hawthorne’s The House of the Seven Gables narrates an encounter between these two philosophies and asks whether either of them, or some combination, can be reconciled with democracy’s egalitarian ideals. By contrasting the Colonel with the Judge and Hepzibah with Holgrave, Hawthorne identifies the elitism that underlies both concepts of dignity in America and investigates whether they can be excised or reformed. Ultimately, I argue that the novel portrays dignity, as conceived in the nineteenth century, as a fundamentally undemocratic remnant of the aristocratic past that has become deeply rooted beneath a democratic façade in America.
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Zhang, Hong. "The Fall of the House of Usher: The Collapse of Roderick’s Nostalgia Mechanism." English Language and Literature Studies 11, no. 4 (November 4, 2021): 43. http://dx.doi.org/10.5539/ells.v11n4p43.
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As an attractive Gothic tale of Edgar Allan Poe, The Fall of the House of Usher creates a mysterious and violent fall, leaving multiple interpretations on why the house of Usher collapsed suddenly. From the perspective of Roderick, the last inheritor of aristocratic Usher, the fall of Usher is more like his shaky nostalgia mechanism in front of discontinued situation. In his seemingly stable nostalgia mechanism, Mansion Usher, the narrator and Lady Madeline play core roles in meeting the needs of avoidance, attachment and idealization to construct a seemingly stable nostalgia mechanism. With the weird fall of Usher, Poe probes into the irrational nature of human, permeating his attention to warn the significance of balancing comfortable dream and reality.
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Ghadamkheir, Mani, and Mahboubeh Mahmoudzadeh. "A Study of Institutions in Dickens’s Bleak House as a Representation of Foucault’s Disciplinary Society." International Letters of Social and Humanistic Sciences 70 (June 2016): 53–61. http://dx.doi.org/10.18052/www.scipress.com/ilshs.70.53.
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This study employs Foucault's views on the strategies of power to analyze that the institutional world of Bleak House makes a disciplinary structure. The intrusion of these institutions in all strata of society in the novel, from the aristocratic Dedlocks to the poor area of Tom-All-Alone shapes a panoptic structure in which everyone is visible through a permanent and omniscient gaze. Under the matrix of various institutions almost all the characters in the novel, directly or indirectly, are trapped and engaged. This study shows the modernity of Dickens views on power relations in society and gives readers new maps to read Bleak House and new perspectives from which to view it.
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Whitmarsh, Tim. "Domestic Poetics: Hippias' House in Achilles Tatius." Classical Antiquity 29, no. 2 (October 1, 2010): 327–48. http://dx.doi.org/10.1525/ca.2010.29.2.327.
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Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house (with no sign of any political apparatus), and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically (Clitophon is too flittish a narrator for that), but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles' modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature (particularly love elegy).
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Nikolaros, Stratos. "Die Taronitai. Eine prosopographisch-sigillographische Studie." Millennium 14, no. 1 (February 23, 2017): 227–92. http://dx.doi.org/10.1515/mill-2017-0007.
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Abstract This paper is a systematic prosopographical study of all members of the Taronites family in Byzantium from the tenth until thirteenth century. It takes into account contemporary narrative sources and both published and unpublished lead seals. Two annexes of lead seals and the stemmata of the family are provided at the end. The aim of this study is to reexamine and offer a fresh insight on the biographical data as well as the history of this aristocratic house.
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Akbar, A. M., Ananto Yudono, Ria Wikantari, and Mohammad Mochsen Sir. "Concept of Form and Space in Buginese Aristocratic Traditional House in Bone South Sulawesi." Journal of Engineering and Applied Sciences 15, no. 3 (November 10, 2019): 865–68. http://dx.doi.org/10.36478/jeasci.2020.865.868.
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Viola, Valeria. "Devotion, Paintings, and the House: The Collections of Ercole and Giuseppe Branciforti, Princes of Scordia (Palermo, 1687–1720)." Religions 11, no. 1 (January 10, 2020): 39. http://dx.doi.org/10.3390/rel11010039.
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This paper interrogates familial devotion and its relationship with parts of the house other than the chapel. In detail, it aims to problematize the issue of the devotional/non-devotional use of paintings inside the house by moving the focus from this dual opposition to the active role of canvases, broadly defined. Informed by Jacques Derrida’s and Pierre Bourdieu’s writings, this paper argues for the structural nature of the paintings inside the house and their meaningful correlation with both the arrangement of the domestic interior and the practices of people experiencing those spaces. To do this, the paper challenges the overwhelming attention paid by early-modern scholars to Northern and central Italy and investigates a precise case study, i.e., Palazzo Scordia in Palermo (Sicily). The research draws upon primary sources and amongst these, upon two detailed inventories of furniture referring to two subsequent generations of an aristocratic clan residing in Palermo between the seventeenth and the eighteenth century, i.e., Ercole and Giuseppe Branciforti, princes of Scordia.
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Condello, Annette. "‘Sybaris is the land where it wishes to take us’: luxurious insertions in Picturesque gardens." Architectural Research Quarterly 15, no. 3 (September 2011): 261–69. http://dx.doi.org/10.1017/s1359135511000807.
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Towards the end of the eighteenth century, the discovery of Pompeii attracted European aristocrats to include the Kingdom of the Two Sicilies (Southern Italy) on their Grand Tour itinerary. Similarly, Sybaris, an ancient Greek colonial polis also directed aristocratic attention to the region. French painter and engraver Jean-Claude Richard de Saint-Non and his entourage of architects most famously documented the ruinous Sybaris and exported its imagery back to France. In parallel with these developments, interest in recreating sybaritic images within luxurious Picturesque gardens arose. Drawing upon a pair of garden case studies, Monsieur de Monville's Broken Column House (1780–81) at Désert de Retz, Chambourcy, and Queen Marie-Antoinette's hameau (1783) within the Petit Trianon Gardens at Versailles, this paper examines the sybaritic images, their influences and the ethical values of the creators of these gardens. Monville and Marie-Antoinette were, for instance, charged of excess. This paper is concerned with the way in which these sybaritic places were configured and how they encapsulated a mythic Sybaris, and argues that the charges of excess levelled against their creators partly stemmed from the unusual and sybaritic effects to be found at their private entertainment gardens.
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Sánchez Fernández, Carlos. "Evelyn Waugh's Brideshead Revisited: Sites of Memory and Tradition." Miscelánea: A Journal of English and American Studies 65 (June 13, 2022): 87–103. http://dx.doi.org/10.26754/ojs_misc/mj.20226848.
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In this article, it is my intention to analyse two theoretical notions related to space, namely Pierre Nora’s idea of the site of memory and Gaston Bachelard’s thoughts on space and the house, as applied to Evelyn Waugh’s Brideshead Revisited (1945). I base my analysis on the symbolic value of the English country house with regard to the interwar English aristocracy and upper classes as depicted in this novel; that is, as a site of memory. I consider the point of view of three characters: Charles Ryder, the novel’s first-person narrator, Lord Sebastian Flyte, Ryder’s intimate friend, and Lord Marchmain, Sebastian’s father, who triggers the novel’s sudden and unexpected ending through his deathbed conversion to Roman Catholicism, his family’s creed. My conclusion links the decline of aristocratic and Christian ideals with the disappearance of communities of memory and their traditions after the Second World War.
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Pham, Manh Duc, and Thang Chien Nguyen. "The compound tombs at Cho Lach (Ben Tre)." Science and Technology Development Journal 17, no. 2 (June 30, 2014): 52–74. http://dx.doi.org/10.32508/stdj.v17i2.1325.
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Between April & May 2014, the Department of Archaeology (Faculty of History, University of Social Sciences and Humanities - Vietnam National University, Ho Chi Minh City) and the Department of Culture - Sports and Tourism of Ben Tre Province conducted an excavation of the compound tomb at Chợ Lách town (Chợ Lách district, Bến Tre Province). The main results are as follows: Archaeologists detected two raising architectures on brick ground like the architectural model of mausoleum, in which the big Mausoleum lies approximately directed southward, offset 3° east, including a stele house and a burial house in scale of 300cm in width, 240cm in length and 185- 205cm in height designed for 2-adult burial (normally a married couple often found in Nam Bộ Tombs). Two graves are of rectangular form because only soil walls surrounded the graves. They are submerged in water in the depth of 70-275cm, decomposed, containing just a piece of the adult skull, 5 very small bronze balls and plant traces (as coconut fiber and fruit (Mangrove palm), Bần rind (Sonneratia) and Ráng leaves (Acrosticlum aureum Linn), pottery and ceramic pieces etc. The small architectural mausoleum with stele and burial houses was opened heading straight West and with the scale of 140cm in length, 65cm in width and 95cm in height. The rectangular burial pit, with the dimension of length 130cm, width 60cm, depth 70cm, not flooded, so the wooden coffin covered by sarcophagus with iron nails is preserved. There are remains of a lying face-up child, spreading legs, wearing 2 bronze buttons. The baby was about 2-4 years old with the height of 100-110cm. From the results of forensic examination and comparative research into the tomb structure scale and the artifact collected from the excavated pit, the authors state that: The tomb monuments in Cho Lach belong to the styles of stele and burial house for aristocratic title, to the Nguyen Dynasty in two centuries 18th and 19th, with structure building material, brick grounds, steel frames, wooden coffins with iron nails, spherical virtual buttons, ceramic fragments etc. For the first time in Vietnam, tomb monuments contained such specific characteristics as 5 very small bronze balls and plant traces (as coconut fiber and fruit (Mangrove palm), Bần rind (Sonneratia) and Ráng leaves (Acrosticlum aureum Linn), pottery and ceramic pieces etc. Especially the first time in Vietnam, archaeologists find 2 aristocratic mausoleums sitting next to each other, perhaps belonging to the same family, in which the parents were lying in big burial pits and their child (ageing from 2 to 4 only) was lying in a small burial pit, but a majestic stele house of this model has still been built from the Medieval & Post-Medieval Ages.
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Kalas, Veronica. "CAPPADOCIAS ROCK-CUT COURTYARD COMPLEXES: A CASE STUDY FOR DOMESTIC ARCHITECTURE IN BYZANTIUM." Late Antique Archaeology 3, no. 2 (2006): 393–414. http://dx.doi.org/10.1163/22134522-90000071.
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Until recently, our knowledge of the Byzantine house has been severely limited by the paucity of available evidence. In the last few years, however, surveys have been conducted in Cappadocia, central Turkey, where archaeologists and art historians working at separate sites recently realised that places formerly understood to be monasteries were actually domestic complexes of the rural elite.1 High above the Peristrema Valley in western Cappadocia, a medieval estate known as Selime Kalesi extends over 100 m in length along a cliff of volcanic rock. Once thought to be a monastery, this too is now recognised as one of a number of aristocratic domestic residences that provide our first extensive information about the Byzantine house. Selime Kalesi is the largest and most elaborate example in design and decoration of over a dozen similarly designed residences that belong to the same settlement. This especially prominent site offers an excellent case study for examining Byzantine domestic architecture and secular use of space.2
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Tatton Brown, Tim. "The Deanery, Windsor Castle." Antiquaries Journal 78 (March 1998): 345–90. http://dx.doi.org/10.1017/s0003581500500110.
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For almost six and a half centuries, the wardens (and later the Deans) of St George's Chapel have been lodged in the extreme north-east corner of the Lower Ward at Windsor Castle. From fairly modest beginnings, the house developed into a much grander building, after the construction of a huge new chapel in the late fifteenth century. After the Elizabethan settlement it developed further and was a childhood home of Sir Christopher Wren, before being vandalized in the Commonwealth period. Following the Reformation, it was reconstructed and then given a grand new front in 1710 for the first of a series of aristocratic Deans. The final major rebuilding was carried out in 1831 immediately after the demise of George IV, and the house was used by Queen Victoria as a sort of ‘confessional’ and very private access to the royal pew after her widowhood. Today it is still a fine house after being reduced in size for twentieth-century Deans who do not have large families and many servants. Its rendered south front can still be seen immediately behind the buttressed east end of the Albert Memorial Chapel (fig. 1).
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Tatton Brown, Tim. "The Deanery, Windsor Castle." Antiquaries Journal 78 (September 1998): 345–90. http://dx.doi.org/10.1017/s0003581500045029.
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For almost six and a half centuries, the wardens (and later the Deans) of St George's Chapel have been lodged in the extreme north-east corner of the Lower Ward at Windsor Castle. From fairly modest beginnings, the house developed into a much grander building, after the construction of a huge new chapel in the late fifteenth century. After the Elizabethan settlement it developed further and was a childhood home of Sir Christopher Wren, before being vandalized in the Commonwealth period. Following the Reformation, it was reconstructed and then given a grand new front in 1710 for the first of a series of aristocratic Deans. The final major rebuilding was carried out in 1831 immediately after the demise of George IV, and the house was used by Queen Victoria as a sort of ‘confessional’ and very private access to the royal pew after her widowhood. Today it is still a fine house after being reduced in size for twentieth-century Deans who do not have large families and many servants. Its rendered south front can still be seen immediately behind the buttressed east end of the Albert Memorial Chapel (fig. 1).
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Sailor, Dylan, and Sarah Culpepper Stroup. "ΦΘΟΝΟΣ Δ̓ ΑΠΕΣΤΩ: The Translation of Transgression in Aiskhylos' "Agamemnon"." Classical Antiquity 18, no. 1 (April 1, 1999): 153–82. http://dx.doi.org/10.2307/25011096.
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The first half of Aiskhylos' "Agamemnon" presents three crimes of the House of Atreus: the sacrifice of Iphigeneia (184-247), the wasting of young Argive lives at Ilion (355-487) and the treading of the materials as the victorious king reenters his palace (810-974). We argue that the sequential presentation of the crimes of the House, which are connected thematically, stylistically, and causally, radically redefines the nature of transgression within contemporary models of the polis community. Crime as defined in relationship to oikos alone is displaced by crime as defined in relationship to both oikos and the broader polis community; transgression moves from an aristocratic (oikos alone) to an isonomic (oikos within polis) context. This redefinition culminates in the "Carpet-Scene." We reread Agamemnon's nostos as a contest of epinikia. The king represents himself as victorious idiôtês, and Klutaimestra strives to figure him as returning tyrant. She succeeds in the stichomythia, where Agamemnon fails to recognize the crucial distinction between φθόνος and ζῆλος. Aristotle differentiates the terms at Rhet. 1387-88, where φθόνος is envy toward a social superior and ζῆλος the emotion one experiences in rivalry between equals; we document the development of the terms from the archaic period onwards, demonstrate that Aristotle's distinction is valid for the late archaic and classical periods, and suggest that it arose in an attempt to outline relationships of appropriate and inappropriate competition among fellow-citizens. Agamemnon's failure to recognize this important distinction betrays his misunderstanding of the dynamics of, and his agreement to walk on the materials is an offense against, isonomic community. The rearticulation of the nature of transgression completed by this crime of Agamemnon against the polis does fundamental ideological work for the rest of the Oresteia, offering an aetiology of the claims of the polis against the aristocratic oikos.
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Hua, Xia, and Gideon Shelach-Lavi. "Bronze Art, Cultural Norms, and Group Identity: A Group of Late Western Zhou and Early Spring and Autumn He Vessels Analyzed in Their Temporal and Spatial Contexts." Asian Perspectives 63, no. 1 (2024): 70–97. http://dx.doi.org/10.1353/asi.2024.a923664.
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abstract: A new generation of scholars has called into question the homogeneous nature of Western Zhou culture and the sweeping imposition of this culture over a large region that covers much of present-day China. Our study contributes to this debate by focusing on a coherent group of bronze vessels dated to the end of the Western Zhou and beginning of the Spring and Autumn periods. He (盉) vessels with drum-shaped bodies, bird-like lids, and human-like legs are among the most unique and artistically innovative artifacts of this period. While these unique artifacts have been found in and near the center of the Western Zhou polity, they are not associated with the rituals of the royal house, but rather with those of other aristocratic lineages. We argue that the artistic style of the vessels was part of the culture developed around the royal Zhou house and in areas close to it, although it is not strictly representative of the royal culture of the Western Zhou, being instead associated with minor lineages. A multi-dimensional analysis of this group of vessels, addressing their geographical distribution, location within their archaeological context, and social associations, combined with an analysis of their decorative scheme and the inscriptions cast inside them, enables us to better understand the sociocultural landscape of this period. Our study suggests that diversity existed not only in remote border areas or among the lower strata of society, but also within the cultural core of the Western Zhou polity and among the highest echelons of the aristocracy. Such processes of diversification are associated with the development of local and regional identities and with the growth of the political independence of aristocratic lineages during the final years of the transition from the Western Zhou to the Spring and Autumn periods.
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Greschat, Katharina. "“When the Saints Go Marching in”. Gregory of Tours and his domestic Oratory." Archiv für Religionsgeschichte 18-19, no. 1 (September 26, 2017): 157–70. http://dx.doi.org/10.1515/arege-2016-0009.
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Abstract In the Glory to the Confessors 20 Gregory of Tours describes how he establishes an oratory for the veneration of the relics of Martin of Tours, Julian of Brioude, Saturninus of Toulouse, and Illidius of Clermont in his own house. This paper will show that Gregory does not only establish his personal relic cult in honor of members of his family or their patron saints to promote his family and himself, but that he uses elements of the Roman domestic cult together with the ceremonies of dedication and adventus of the saints in order to demonstrate that he is the rightful bishop of Tours and a powerful aristocratic leader of his civitas.
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Abdulhussein Mahdi, Maali. "Class-Distinction in Nathaniel Hawthorne’s The House of the Seven Gables." مجلة العميد مجلة فصلية محكمة تعنى بالابحاث والدراسات الإنسانية 11, no. 44 (December 31, 2022): 273–86. http://dx.doi.org/10.55568/amd.v11i44.273-286.
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It is well known to many critics that Nathaniel Hawthorne’s writings are often inspired by his life and the events and concepts he went through, and The House of the Seven Gables is of course not exempt from this rule. The idea of the novel is built on events and news that the writer heard about his upper class ancestors and their racist view towards the lower classes.
The character of the dictator and the oppressor in the novel is well embodied in the personality of Colonel Pyncheon.. infact the Colonel reflects the thoughts and beliefs of Hawthorne’s ancestors, who were known for their arrogance, injustice and tyranny with poor and simple people. It is clear that Hawthorne’s comments in the novel are mostly about the idea of the class inequality that ruled society at the time, and his rejection to that backward aristocratic mentality.
The research discusses the idea of class distinction embodied by the characters of the novel with the idea that this differentiation can be ended and become a thing of the past if the new generations feel love and respect towards each other as this is embodied in characters of Holgrave and Phoebe.
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Ferrer-Vidal Díaz del Riguero, Maria Soledad. "Nobility, kinship and memory in Santa Eufemia de Cozuelos, the first female convent of the Military Order of Santiago." Ordines Militares Colloquia Torunensia Historica 27 (December 30, 2022): 45–95. http://dx.doi.org/10.12775/om.2022.002.
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This paper refers to the noble patronage around Santa Eufemia de Cozuelos, the first female house of the Military Order of Santiago since 1186, based in the north of the Kingdom of Castile, during the second half of the thirteenth century. This patronage provided the convent with funerary spaces to perpetuate the memory of some noble Castilian and Leonese families whose members effected important land donations to the monastery, thus assuring prayers for the salvation of their souls. Unlike the vast majority of the many female monastic houses founded in the kingdoms of Castile and León in the Middle Ages, the lack of aristocratic founders, patrons or benefactors in all the female Jacobean convents in Castile and León since their founding until the second half of the thirteenth century, Santa Eufemia among them, is striking. The subject of this paper aims to determine how the Military Order of Santiago managed to attract to its first female house a whole group of noble lineages. The patronage of these noble families along the second half of the thirteenth century provided the Jacobean monastery with the noble prestige that many other Castilian female convents had from their origin and of which Santa Eufemia lacked, and furthermore, also provided the Jacobean convent with the most relevant territorial expansion of its monastic domain, precisely along this same period. A detailed revision of the available source material and bibliography allowed us to put together enough information to follow and verify this process.
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Ellenberger, Nancy W. "Constructing George Wyndham: Narratives of Aristocratic Masculinity in Fin-de-Siècle England." Journal of British Studies 39, no. 4 (October 2000): 487–517. http://dx.doi.org/10.1086/386229.
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In June 1913, on a holiday trip to Paris, George Wyndham died suddenly of a heart attack—he was not quite fifty years old. Shocked by this unexpected loss, colleagues in the Conservative Party and the House of Commons, whose inner circles he had occupied for a quarter of a century, organized the usual tributes. Obituaries laid out Wyndham's pedigree as scion of one of England's more romantic landed families, charted his meteoric rise in the 1890s under Arthur Balfour's patronage, referred briefly and discreetly to his troubled tenure as Irish secretary from 1900–1905, and applauded his versatility as a sportsman and a man of letters. Despite his truncated career, interest in Wyndham did not wane after these first homages. Working through the interruption of war, his family saw that collections of letters and essays, with the 1925 set prefaced by J. W. Mackail's “life,” reached the public. These materials prompted pen portraits and biographies that appeared at regular intervals into the 1970s.A largely sympathetic group of authors, those who wrote about Wyndham faced the interesting challenge of presenting as inspiring and exemplary a life whose disappointments had threatened to outweigh its achievements. The solution they found was one that Wyndham would have accepted, for, indeed, he helped to shape it. In their hands, George Wyndham became a modern Siegfried, the charming, versatile, and disinterested son of an extraordinary ruling class—now, alas, eclipsed—who had guided Britain through two centuries of unprecedented grandeur and prosperity.
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Denizarslani, Yonca. "A Prologue to apology and futurism: Projections of nineteenth-century American Historicism in Nathaniel Hawthorne’s “The Custom-House”." JOURNAL OF AWARENESS 8, no. 4 (October 22, 2023): 525–44. http://dx.doi.org/10.26809/joa.2144.
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Distracted by the contesting political debates between aristocratic republicanism of the Revolutionary era and democratic republicanism of the Antebellum; Nathaniel Hawthorne’s narrative tone in his prologue, “The CustomHouse” carries out the ideological assets of nineteenth-century American historicism in accord with which he laid ahistorical fictional elements failing to portray the entirety of early colonial New England in his 1850 novel, The Scarlet Letter. In this respect, “The Custom-House” portrays Nathaniel Hawthorne’s Romantic projections aimed at consoling the contemporaneous polarization on the futurity of the nation as much as his redemptive quest for his ancestral past in colonial Salem. Thus, as the dean of American Renaissance authors and a fervent Romantic, Nathaniel Hawthorne’s concern for an absolute-oriented moral vision, his apologetic perspective of the past, and his affirmative tone for the futurity of American democracy are most out loud in his writing. This study aims to focus on Hawthorne’s apologetic and futurist projections of nineteenth-century American historicism in his prologue, “The Custom-House” for his 1850 novel, The Scarlet Letter, concerning his responses to the anxieties of Antebellum America.
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Boron, Oleksandr. "RESTAURANTS AND TAVERNS IN SHEVCHENKO’S STORY “THE ARTIST” (FROM THE NEW COMMENTARIES)." Слово і Час, no. 2 (March 25, 2021): 35–52. http://dx.doi.org/10.33608/0236-1477.2021.02.35-52.
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Besides specifying or clarifying the current address of the restaurants and taverns mentioned in the story, it appeared necessary to give a minimum description of this or that eating-house as most of the relevant names and cases of comparing and contrasting some of them say little to a common reader and sometimes to a specialist as well. The study of these restaurants and taverns adds many new details to Shevchenko’s biography. Based on the information of the author’s contemporaries (mostly from the 1830s—1840s), descriptions in the fiction ot the time, as well as city guides and directories, the paper presents characteristics of St. Petersburg restaurants and confectioneries of Alexander, Delli, Dume, Klee, Saint Georges, the Roman cafes Lepri and Greco.
The paper proves that Madame Jurgens’ eating-house was located not on the sixth line of Vasilyevsky Island, but the third one, near the Great Avenue, not far from the wine cellar of Ja. Vochts on the second line. It refutes the erroneous localization by M. Morenets who believed that Jurgens canteen worked in a house at the modern address 6 Buzky Lane / 7 the 6th line. In fact, there was a tavern “The Golden Anchor”, which is also visited by the characters of the story. There is evidence that allows assuming that the tavern “Berlin” mentioned in the story as one in the corner of the 6th line and Academic Lane was located at the modern address 3 6th line / 10 Academic Lane, because since the early 19th century there was a wine shop in this particular building, and not in the one at the opposite corner.
When not lacking money to pay, Shevchenko and his Academy classmates had lunch mostly in Madame Jurgens’ eating-house. If they could afford it, getting paid for a portrait or something, they visited the restaurant Klee. K. Bryullov could sometimes invite them for dinner at Delli’s confectionery or Alexander’s restaurant. Shevchenko also knew some other aristocratic eating-houses and, of course, just heard of Roman cafes from others.
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HERNÁNDEZ FRANCO, Juan. "Matrimonio, consanguinidad y la aristocracia nueva castellana: consolidación de la Casa de Alba (1440-1531)." Medievalismo, no. 28 (October 8, 2018): 43–74. http://dx.doi.org/10.6018/medievalismo.28.344261.
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Historia Social, Historia de la Familia e Historia Política convergen en el presente artículo para intentar analizar cómo se forma la casa de Alba, y avanzar en su trayectoria de ascenso social desde el siglo XIII, cuando son miembros de la oligarquía toledana, hasta 1531, inicios del periodo del ducado de Fernando Álvarez de Toledo, el Grande. En ese proceso desempeña un destacado papel las alianzas matrimoniales con casas aristocráticas de más lustre (Enríquez y Benavente) y con posterioridad, especialmente en el siglo XVI, la recurrencia a matrimonios entre parientes muy cercanos en grado de consanguinidad. Social History, Family History and Political History converge on this article, in which we try to analyse how the house of Alba was formed, and progress in the trajectory of social ascent the house of Alba experienced from the 13th century —when they were members of the oligarchy of Toledo— until 1531, when the Duchy was created for Fernando Álvarez de Toledo, the Great. In this process, marital alliances with more prestigious aristocratic families, such as the Enríquez and the Benavente, played a prominent role, and subsequently, in the sixteenth century, marriages between close relatives with some degree of consanguinity became recurrent.
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Archer, Robin. "From an aristocratic anachronism to a democratic dilemma: an elected House of Lords and the lessons from Australia." Commonwealth & Comparative Politics 51, no. 3 (July 2013): 267–82. http://dx.doi.org/10.1080/14662043.2013.805537.
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Byckling, Liisa. "Hic et Ubique: The Russian Life and Finnish Times of Cultural Ambassador Yakov Grot in the 1840s and 1850s." Journal of Finnish Studies 25, no. 2 (December 1, 2022): 198–225. http://dx.doi.org/10.5406/28315081.25.2.03.
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Abstract Yakov Grot (1812–1893) was professor of Russian literature and history at Alexander University in Helsinki, 1841–1853. He became vice-rector of the Saint Petersburg Academy of Sciences in 1889. He published several important academic works on Russian etymology, lexicography, and grammar. He supervised work on the Russian Academic Dictionary. In Helsinki, Grot was a mediator between the two countries. He translated Swedish literature published in Finland and wrote essays about Finnish and Swedish literature, folk poetry, and history. An invaluable source is Grot's correspondence, in three volumes, with the editor of the literary journal Sovremennik Pëtr Pletnëv. Grot received invitations to all the best aristocratic and bourgeois houses in Helsinki to participate in balls, dinners, and amateur performances. He partook in social gatherings and masquerades at the Society House and private houses. His favorite pastime was the theater. Helsinki was the playground of visiting opera and drama companies who performed mostly in Swedish and German. Some famous musicians stopped over in Helsinki on their way to and from Saint Petersburg–Stockholm–Revel. Grot's years in Helsinki coincided with the rise of national culture. Studying Grot's circle of friends and acquaintances, as well as the theater and cultural entertainments, provides deeper insight into social life in the 1840s, as well as Finnish-Russian relations.
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Wallace, Peter G. "Between Bourbon and Habsburg: Elite Political Identities at Freiburg im Breisgau, 1651–1715." Austrian History Yearbook 33 (January 2002): 15–41. http://dx.doi.org/10.1017/s0067237800013801.
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In his classic analysis of state building by the Austrian Habsburgs in early modern Central Europe, R. J. W. Evans argues that the dynasty's eventual success in asserting its will over a conglomerate of separate, coherent territories with time-honored claims to political liberties followed the sometimes troubled trajectory of crown-aristocratic relations. The cultural impetus for political centralization was the mix of reform within the Catholic Church and counterreform measures taken against powerful Protestant subjects among the nobles and civic elites. By the 1650s the ability of Habsburg officials in Vienna to govern effectively the dynasty's various holdings rested firmly on a dyarchy of the ruling house and regional nobles who shared a common baroque Catholic faith and an investment in a system of court patronage that fostered collaboration rather than resistance in the far-flung empire.
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Julie Hastrup-Markussen. "Howards Ends’ åndelige arving: Arv og umistelig ejendom i E. M. Forsters Howards End (1910)." Slagmark - Tidsskrift for idéhistorie, no. 82 (November 18, 2020): 111–27. http://dx.doi.org/10.7146/slagmark.vi82.141050.
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When E. M. Forster published the novel Howards End in 1910, it was at the height of ‘the inheritance society’, and the gulf between rich and poor was great and problematic; a fact that Forster was very well aware of. Yet in spite of this, the main character in Howards End, Margaret Schlegel, is a financially independent rentier living off of the wealth of her ancestors, and her wealth increases when she is named the ‘spiritual heir’ of Ruth Wilcox and thus inherits the house of Howards End. In this study, I argue that Forster shifts the focus from inherited money to inherited values in order to pardon a society of great inequality. Drawing on an aristocratic principle, Forster thus deals with inheritance as an inalienable and spiritual subjectrather than as a legal and economic one.
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Farney, Gary D. "THE CORNELII AND JUPITER: A CASE STUDY IN THE MANIPULATION OF TRADITIONAL RELIGION BY AN ARISTOCRATIC ROMAN KINSHIP GROUP." Greece and Rome 70, no. 1 (March 7, 2023): 50–70. http://dx.doi.org/10.1017/s0017383522000237.
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The Cornelii were one of the oldest and most prestigious Roman gentes, extended family kinship groups, in Republican Rome. Various members and branches advertise some kind of connection to Jupiter, Jupiter Optimus Maximus in particular, notably Scipio Africanus, but he was certainly not the only Cornelius to do so. Numismatic evidence has long suggested some kind of claimed relationship between the Cornelii and Jupiter. The Cornelian connection to the religious office of flamen Dialis (high priest of Jupiter) is more proof that their claims to be associated with Jupiter were accepted by Roman society. Some later branches of the Cornelii, notably the Sullae, began to prefer Venus instead, but a connection with Jupiter was still explicable via the genealogy of the Trojan royal house.
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Neméthová, Lucie. "Antonín Goller, Stephan Tragl, Johann Koch: Méně známí architekti ve službách severočeské a východočeské šlechty ve druhé polovině 19. století." AUC PHILOSOPHICA ET HISTORICA 2021, no. 1 (June 23, 2023): 55–72. http://dx.doi.org/10.14712/24647055.2023.5.
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In the second half of the 19th century, many architects worked for noble members of the house of Morzin and subsequently the house of Czernin-Morzin in Vrchlabí and other mansions in North Bohemia. Among these architects, famous names such as Achille Wolf or Josef Schulz can be found; this text, however, concerns itself with these lesserknown, namely Antonín Goller (1833–1880), Stephan Tragl (1845–1891), and Johann Koch (1850–1915). The main objective of this text is to give the most comprehensive view possible of the work and personalities of these three very diverse architects. The oldest of the three, Antonín Goller, was an active member of the Association of Architects and Engineers in the Kingdom of Bohemia and author of numerous conversions of aristocratic residences. Second architect, Stephan Tragl, established a successful architectural studio in Prague-Smíchov in the 1880s and was the author of many impressive buildings, among which excels a group of sacral buildings in neo-Gothic and neo-Romanesque style. Unlike the previous two, the work of Johann Koch is, for the most part, concentrated abroad in Latvian Riga. Here he was an architect of many highly representative public buildings in Italian neo-Renaissance style and even today is highly appreciated.
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Bowers, Roger. "Aristocratic and Popular Piety in the Patronage of Music in the Fifteenth-century Netherlands." Studies in Church History 28 (1992): 195–224. http://dx.doi.org/10.1017/s0424208400012456.
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It has always been recognized that during the fifteenth century the vigorous and affluent commercial towns of the Low Countries served as centres of artistic excellence, especially in respect of painting and of manuscript production and illumination. That the region was no less fertile a generator of practitioners and composers of music—especially of music for the Church—has also long been appreciated. If for present purposes the Low Countries be defined—rather generously, perhaps—as the region coterminous with the compact area covered by the six dioceses of Thérouanne, Arras, Cambrai, Tournai, Liège, and Utrecht (see map), then it was an area if not packed with great cathedrals, yet certainly thickly populated with great collegiate churches, which sustained skilled choirs and offered a good living and high esteem to musicians who composed; the area also sustained a catholic and generous patron and consumer of artistic enterprise of all sorts, sacred and secular music included, namely, the House of the Valois Dukes of Burgundy and its Habsburg successors. From the end of the fourteenth century to the first half of the sixteenth, the region produced church musicians in such numbers that it became the principal area of recruitment for those princes of the south of Europe who were seeking the ablest men available to staff their household chapels. The Avignon popes of the 1380s and 1390s, the dukes of Rimini and Savoy, and the Roman popes of the mid-fifteenth century, and from the 1470s onwards the fiercely competitive dukes of Milan and Ferrara, the popes, cardinals, and bishops of the Curia, the king of Naples, the prominent families and churches of Florence and Venice, all alike recruited from the North; and though many of the ablest, like Ciconia, Dufay, Josquin, Isaac, and Tinctoris, were lured south to spend their lives in the sunshine, many more remained at home to maintain the Low Countries tradition.
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Rollin, Henry R. "Horton Hospital, Epsom – the Royal connection." Psychiatric Bulletin 16, no. 12 (December 1992): 791–93. http://dx.doi.org/10.1192/pb.16.12.791.
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The history of Horton Hospital is best seen in the context of the socio-economic history of the late 19th century. London, as a result of the Industrial Revolution, had grown enormously so that the existing metropolitan mental hospitals could no longer cope with sheer numbers of mentally disordered arising within its boundaries. The Metropolitan Asylums Board, whose responsibility it then was, looked for suitable land within easy – but not too easy – reach of London. Epsom at the turn of the century was an exceedingly fashionable area boasting a number of large and elegant “Derby Houses” (some of which still exist, although now put to rather more plebeian use) to which the aristocratic racing fraternity transferred themselves for the races. It was known that this wealthy and influential body would oppose the sale of the private estate of Sir Thomas Powell Buxton in the parish of Horton, roughly one square mile in size, for the purpose of building mental hospitals. What added even more bitterness to the pill was that the hospitals were to house “pauper lunatics”, a sobriquet with obviously undesirable social connotations. The negotiations for the sale were carried out in secrecy and the fait accompli, when it was announced, created an outcry. But it was too late. In retaliation the “toffs of the turf” including, ironically perhaps, the Royal Family, transferred their establishments and training facilities mainly to Newmarket which grew in importance as Epsom declined.
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TINDLEY, ANNIE. "‘The Sword of Avenging Justice’: Politics in Sutherland after the Third Reform Act." Rural History 19, no. 2 (October 2008): 179–99. http://dx.doi.org/10.1017/s0956793308002483.
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AbstractThere has been much historical debate over the role of aristocratic landed families in local and national politics throughout the nineteenth century, and the impact of the First, Second and Third Reform Acts on that role. Additionally, the period from 1881 in the Scottish Highlands was one of acute political and ideological crisis, as the debate over the reform of the Land Laws took a violent turn, and Highland landowners were forced to address the demands of their small tenants. This article addresses these debates, taking as its case-study the ducal house of Sutherland. The Leveson-Gower family owned almost the whole county of Sutherland and until 1884 dominated political life in the region. This article examines the gradual breakdown of that political power, in line with a more general decline in financial and territorial influence, both in terms of the personal role of the Fourth and Fifth Dukes of Sutherland, and the broader impact of the estate management on the mechanics and expectations of politics in the county.
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McInerney, Tim. "Patrick Cosgrove, Terence Dooley, and Karol Mullaney-Dignam (eds), Aspects of Irish Aristocratic Life: Essays on the Fitzgeralds and Carton House, Dublin." Études irlandaises, no. 40-1 (June 30, 2015): 373–74. http://dx.doi.org/10.4000/etudesirlandaises.4675.
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ALTSTATT, ALISON. "‘And lastly, one for Saint Blaise’: bishops, widows and patronage in a lost Office of Reginold of Eichstätt." Plainsong and Medieval Music 30, no. 1 (April 2021): 1–28. http://dx.doi.org/10.1017/s0961137121000012.
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ABSTRACTThis article concerns a fragmentary Office for Saint Blaise found in D-PREk Reihe V G1, a late fourteenth-century antiphoner from the Benedictine convent of Kloster Preetz. Despite the late date of the source, compositional similarities between this office and the Saint Nicholas office support the possibility that the former may be a lost Office attributed to Bishop Reginold of Eichstätt (r. 966–91) by the chronicler Anonymus Haserensis. I argue that Reginold may have written both the Office for Saint Blaise and the recension of the passio on which it is based for Pia of Bergen (Biletrud, Duchess of Bavaria), whom the chronicler names as Reginold's patron. This theory is supported by a consideration of the historical position and practices of Ottonian aristocratic widows, the development of saints’ cults in tenth-century Eichstätt and the text of the passio itself. These findings give new insight into the office compositions of Reginold of Eichstätt, the Ottonian veneration of Byzantine saints and female patrons’ involvement in the liturgical arts and establishment of cults in the late tenth century. These findings also provide hints to the origin of the liturgy of Kloster Preetz, whose mother house has never been identified.
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Green, Stephanie. "The condition of recognition: Gothic intimations in Andrew McGahan's The White Earth." Queensland Review 23, no. 1 (May 31, 2016): 84–94. http://dx.doi.org/10.1017/qre.2016.9.
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AbstractThis article discusses the evocation of the Gothic as a narrative interrogation of the intersections between place, identity and power in Andrew McGahan's The White Earth (2004). The novel deploys common techniques of Gothic literary fiction to create a sense of disassociation from the grip of a European colonial sensibility. It achieves this in various ways, including by representing its central architectural figure of colonial dominance, Kuran House, as an emblem of aristocratic pastoral decline, then by invoking intimations of an ancient supernatural presence which intercedes in the linear descent of colonial possession and, ultimately, by providing a rational explanation for the novel's events. The White Earth further demonstrates the inherently adaptive qualities of Gothic narrative technique as a means of confronting the limits to white belonging in post-colonial Australia by referencing a key historical moment, the 1992 Mabo judgment, which rejected the concept of terra nullius and recognised native title under Australian common law. At once discursive and performative, the sustained way in which the work employs the tropic power of Gothic anxiety serves to reveal the uncertain terms in which its characters negotiate what it means to be Australian, more than 200 years after colonial invasion.
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Isachenko, Tatiana A. "“In Memory of Tatoe”: Who Owned the Album from the Collection of N.P. Smirnov-Sokolsky." Bibliography and Bibliology, no. 2 (August 3, 2023): 101–13. http://dx.doi.org/10.25281/2411-2305-2023-2-101-113.
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The article describes a little-known source — the literary almanac of 1886 “From day to day”, which includes 365 quotations from various works of M.Yu. Lermontov. Compiled by the Greek Queen Olga (nee Grand Duchess Olga Konstantinovna, granddaughter of Nicholas I), it had a limited printing and was intended for gifts to especially close people on memorable dates as a diary album for recordings. The history of the existence of each surviving copies of this rare edition is worthy of close study, so long as it gives the opportunity to verify a number of facts important for the native culture. This is a multi-level artifact containing autographs of famous people, reflecting a significant array of events, dates, names and poetic images. The article describes for the first time a copy from the library of the famous bibliophile N.P. Smirnov-Sokolsky, in which most of the inscripts belong to representatives of the House of Romanov and their aristocratic entourage (some of the personalities are established for the first time). For this purpose different data have been used with the help and by means of archival and bibliographic heuristics, as well as historical genealogy.
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Robinson, M. Michelle. "White Gothic and Black Detection in Edgar Allan Poe and Barbara Neely." Poe Studies 56, no. 1 (2023): 63–82. http://dx.doi.org/10.1353/poe.2023.a909582.
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ABSTRACT: This essay argues that Barbara Neely reconfigures tropes and dramatic elements that appeared in Edgar Allan Poe's gothic and detective tales to formulate a Black, feminist, working-class detective fiction. In Blanche on the Lam (1992) and Blanche Passes Go (2000), Neely relocates the moral decay and material degeneration of aristocratic estates that Poe depicts in works like "The Fall of the House of Usher" and "The Black Cat" to the town of Farleigh, North Carolina. There, she reframes the gothic landscape as one designed to safeguard the power of White elites, disavow histories of Black enslavement and servitude, and imperil her protagonist, a Black domestic worker and amateur detective named Blanche White. Neely also reconceives the powers of detection Poe depicts in his Dupin mysteries from the social and economic vantage point of her working-class Black protagonist, for whom detecting is a form of agency and a means of defense against the violence that domestic workers face. In availing herself of Poe's literary materials, Neely reveals patterns of criminality that are sustained by White wealth in the US South, while underscoring the role of detection as an instrument of working-class resistance.
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Тарасенко, О. А., and А. А. Тарасенко. "Світобудова Михайла Гуйди." Art and Design, no. 2 (August 11, 2021): 152–63. http://dx.doi.org/10.30857/2617-0272.2021.2.14.
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Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.