Academic literature on the topic 'British Decorations'
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Journal articles on the topic "British Decorations"
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Wang, Quan Yu, Yi Chen, and Daniel O'Flynn. "A Scientific Study of Eastern Zhou Bronze Weapons with Tin-Rich Surface Decoration." Materials Science Forum 983 (March 2020): 47–55. http://dx.doi.org/10.4028/www.scientific.net/msf.983.47.
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In this paper we examined three bronze weapons with tin-rich surface decoration from the Eastern Zhou period: a sword (1966,0222.1) with a trellis pattern, a spearhead (1947,0712.426) with a hexagonal star pattern in the British Museum collections, and a sword (GT698) with a trellis pattern from a private collection. These weapons may have come from south eastern China, a region renowned for its weaponry production in the Eastern Zhou period, as both their styles and decorations are comparable to the sword of the Yue King Goujian and the spearhead of Wu King Fuchai, two of the most typical objects of this type. The manufacturing and surface tin-rich decoration techniques were investigated using microscopy, X-ray CT imaging, X-ray fluorescence spectrometry, scanning electron microscopy equipped with energy dispersive X-ray spectroscopy, and X-ray diffraction. The results showed that all the objects were made of high tin bronzes. The swords were made by casting a grip around the pre-cast blade and the pommel. The spearhead was an integral casting. The trellis pattern on the swords was probably produced by heating up a tin-rich paste applied to the surface and the thin hexagonal star decoration pattern on the spearhead was probably produced by brush painting with a mercury-tin amalgam followed by heating.
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Mondal, Md Sohel. "Mechanism of Resistance to British Imperialism in the Literature of Kazi Nazrul Islam." Journal of Language and Linguistics in Society, no. 34 (June 6, 2023): 1–11. http://dx.doi.org/10.55529/jlls.34.1.11.
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Literature has always been an effective medium of presentation. Whenever the groaning sound of people with the increasing tyranny of colonial rule raised high, literature played a pivotal role to draw it in a pragmatically artistic touch. The Bidrohi Kabi Kazi Nazrul Islam, National Poet of Bangladesh, made a unique place in the journey of Bengali literature resistance of the early twentieth century. He inextricably applied diverse literary genres and thematic mechanisms of resistance in his literature which undoubtedly bore the motive-inciting words of love and fire against any form of injustice whether of British Empire or societal customs and continued the thread of awakening in the Bengal Renaissance. The Rebel Poet was the figurehead of the allied Hindu-Muslim struggle of undivided India against the imperialistic British rule. However, miserably the discourse on Nazrul Resistance Literature is limited only in Bengali corridors with mere poetic contributions. With this viewpoint, the research delves into exploring the dimensional works of the poet and tries to establish him as a versatile writer of prose and poetry. In addition, the work makes a sincere effort to elucidate various thematic decorations of his literary outcomes and their universal acceptability. Ultimately, Nazrul Studies are yet to be expounded further ahead to bring out more research works on this Bengali poet of love and resistance overlooking the cross-country borders.
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Goodall, John A. "Some Aspects of Heraldry and the Role of Heralds in Relation to the Ceremonies of the Late Medieval and Early Tudor Court." Antiquaries Journal 82 (September 2002): 69–91. http://dx.doi.org/10.1017/s000358150007373x.
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The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.
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Stanek, Piotr. "Ignacy Bator (1916–1944) – jeden z cichociemnych." Res Gestae 15 (February 6, 2023): 120–31. http://dx.doi.org/10.24917/24504475.15.9.
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Ignacy Bator (1916-1944), nom de guerre “Opór” (“Resistance”) was a lieutenant of the Polish Air Force in Great Britain, participant in the Warsaw Uprising, one of the 316 Silent and Unseen - special paratroopers of the Home Army. In 1939, he took part in the defense of Poland, then he reached France, where he joined the Polish Armed Forces in the West. In 1940, he made his way to Great Britain, where he served in the air force as a shooter-radio operator in No. 301 Polish Bomber Squadron and No. 138 (Special Duties) Squadron RAF. In 1942, he volunteered to serve in the Home Army in occupied Poland. After training, he was dropped to Poland on the night of January 25/26, 1943. He served in the radio communication structures of the Home Army Headquarters. As a radio operator of the Home Army, he took part in the Warsaw Uprising, during which he died in August 1944. He has been awarded many times for his service by Polish and British military decorations, incl. with the Silver Cross of the Order of Virtuti Militari, four times with the Cross of Valor, with the “Distinguished Flying Cross” and others.
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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (August 14, 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.
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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.
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D. Mapari, Ms Dimple, and Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.
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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.
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Pantyukhina, T. V. "Training of the managerial elite for the British Empire (a case study of public school the United Services College)." Гуманитарные и юридические исследования 10, no. 3 (2023): 440–46. http://dx.doi.org/10.37493/2409-1030.2023.3.10.
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Introduction. The relevance of the research topic is determined by the fact that it has not been studied in the national historical science. Meanwhile, the experience of training effective managerial personnel in England in the last third of the XIX – early XX centuries seems worthy of study and reflection. The purpose of the paper is to analyze the problem on the case study of the United Services College, its history and biographies of its most prominent graduates. The novelty of the research is determined by the fact that this problem has not been the subject of special research in Russian historiography. Materials and Methods. The sources used for the analyses consist of documents on the history of the school, memoirs of its graduates, Kipling’s novel “Stalky and Co.” based on the writer’s school years, documents of the “Kipling Society”. The following methods were used: narrative, descriptive, comparative. Analysis. The United Services College was founded in 1874 with the aim of providing the sons of military personnel with inexpensive school education and prepare boys to go on to cadet colleges to train for a military career. Mission of the school was to mold “men of action”, to teach patriotism, team spirit, leadership skills. Students were brought up to become practical, efficient, brave and effective leaders. Extra curriculum activities were consistent with these purposes. The rules were strict, physical punishment was an accepted teaching method and bullying was common. The examination oftheUSC graduates’ careers is essential for assessing the effectiveness of students’ preparation for their future services. Results. Despite a rather short history the United Services College provided the country with a large number of military and civil personnel. 468 graduates joined the British Army, nearly all served throughout the Empire. 198 graduates joined the Indian Army, 51 did service in the Royal Navy and associated forces, 308 USC’s graduates worked abroad in civil organizations, often in Colonial Service Some graduates reached high ranks of Admiral or General. During World War I USC’s graduates earned numerous awards and decorations. Many of them including two Generals, died in the war. The careers of the most distinguished USC’s graduates: Kipling and Dunsterville provide an example of the school’s capacity to effectively train boys for the future.
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Alieva, Arzy Yu. "Mary Holderness. Notes relating to the Manners and Customs of the Crim Tatars. Written during the four years` residence among that people." Crimean Historical Review, no. 1 (June 2021): 238–60. http://dx.doi.org/10.22378/kio.2021.1.238-260.
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This translation is based on the work “Notes Relating to the Manners and Customs of the Crim Tartars…” by the English traveler Mary Holderness. This work was published in London in 1821. It contains detailed information about the way of life of the Crimean Tatars, among whom Mary Holderness lived for four years in the village of Karagoz (Karagoss, at present the village of Pervomayskoye, Kirovsky district of the Crimea) since 1816 to 1820. The work is based on the author’s personal testimonies about the conduct of marriage, funeral and many other ceremonies of the Crimean Tatars: their customs, traditions, methods of housekeeping and education, especially intra-family relations. In her notes, Mary Holderness describes the development of women’s handicrafts and leather production. The author notes that all the Crimean footwear production was made in Bakhchisarai and Karasubazar, and subsequently sent to other Crimean cities. The author provides information on the development of sheep breeding among the Crimean Tatars. Lamb skins, after appropriate processing, were highly valued and exported to Moscow. Jewelry production was also well developed. Various jewelry decorations were made by them: jewelry made of silver, glass, brass, lead, as well as gold with colored stones. The significance of work lies in the fact that it provided the modern reader with the opportunity to get acquainted with the way of life and customs of the Crimean Tatars of the period described. An abundance of background information: food prices, Russian equivalents of British measures, indication of the distance between settlements make it possible to assess the standard of living of the Crimean Tatar people in the period under review.
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Xu, Jian, Muchun Li, Dandan Huang, Yuxin Wei, and Sijia Zhong. "A Comparative Study on the Influence of Different Decoration Styles on Subjective Evaluation of Hotel Indoor Environment." Buildings 12, no. 11 (October 24, 2022): 1777. http://dx.doi.org/10.3390/buildings12111777.
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The purpose of this study is to explore the occupants’ subjective evaluation of the indoor environmental quality (IEQ) of hotels with the same physical environment and different decoration styles, and to reveal the influence of different decoration styles on the subjective evaluation of the indoor environmental quality. The study found a hotel with three mainstream styles of modern simple style, British pastoral style, and modern Japanese style, and adopted standard rooms with the same area, pattern, lighting, orientation, and decoration cost. The only variable controlled was the decoration style, and the subjective feelings of customers on the physical environment were investigated. Based on the literature and 604 online comments, the researchers designed a questionnaire and collected 710 effective questionnaires for empirical analysis. The analysis results of KH coder and SPSS software (Chicago, IL, USA) show that the light environment in the indoor environment (including indoor natural lighting, lighting and other influencing factors) and non-light visual factors (including indoor color matching, plant layout, closeness to nature, decoration texture, space materials, decoration atmosphere and other factors) has the greatest impact on the subjective evaluation of decoration style, especially on the subjective evaluation of modern simple indoor environment. Light environment, air quality and non-light visual factors play a key role in the subjective evaluation of the indoor environment of the British pastoral-style hotels. The light environment, thermal environment and non-light visual factors are the most sensitive to the subjective evaluation of the indoor environment of modern Japanese-style hotels. Thermal environment, light environment, acoustic environment, air quality environment and non-light visual factors have the greatest impact on the subjective evaluation of the hotel indoor environment. Based on the findings, this study puts forward some suggestions to improve the interior environment of the hotel with different decoration styles to improve the quality and attractiveness of the hotel.
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Butcher, S. A. "Catalogue of the Romano-British and Later Metalwork." Proceedings of the Prehistoric Society 53, s1 (1987): 110–12. http://dx.doi.org/10.1017/s0079497x00078646.
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1 Complete copper alloy bracelet. One end is hooked and would have been caught through the slot on the other flattened end. The decoration of stamped circles and the form of the bracelet can be paralleled on late fourth century examples from Lydney (Wheeler, 1932 fig 17). Interior, Box 95, L1.2 Bracelet of copper alloy. One end is hooked but enough of the other survives to show that it was not flattened as No 1 above. The decoration appears to be formed by a fine wire twisted round the main bar. Spiral patterned bracelets occur throughout the Roman period. Interior, Box 227, L1.
Dissertations / Theses on the topic "British Decorations"
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Talbot, Kathleen. "Nostalgia and identity : British hand-painted ceramic decoration 1870-1920." Thesis, Aberystwyth University, 2010. http://hdl.handle.net/2160/830497a4-b387-492e-ac83-c477b55b1b51.
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This thesis discusses hand-painted decoration on British ceramics in the period 1870 to 1920 in the context of changing economic and social climates and gendered employment and occupation. The original impetus for this research came from analysis of ware produced at the South Wales Pottery in Llanelli sometime in the period 1877 to 1920. As the research expanded and links with other potteries were established, it became evident that varied innovations in hand-painted ceramic decoration were influenced by national, local and gendered responses to a period of transition in Britain.
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Wheaton, Pat. "High style and society : class, taste and modernity in British interwar decorating." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/24563/.
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This thesis explores the way in which interior decorating developed as a practice during the interwar period in Britain and seeks to address broader contexts of gender, class, taste and styles. While traditional design histories have tracked the development of the interior design model through a direct sequence of movements and ideologies through the nineteenth and twentieth centuries, this thesis addresses issues which have been problematic within the context of art and design history. It acknowledges the more linear dimension of the original strand and seeks to offer a complementary appraisal which considers and appreciates the role of class, wealth and privilege and deconstructs boundaries which have marginalized gender and obscured certain important influences. The study examines the way in which decorators, many of whom were female, negotiated a design agenda which engaged with modernity without fully renouncing hard-fought signifiers of their class, taste and individuality. It argues that in the development of its practices, significant alliances were formed with fashion and that the vital role performed by media representation and social commentary underpinned its commercial profile and provided the public locus of its discourse. The nature of professional decorating is explored against a background of emerging practices in the first decades of the twentieth-century which included the antiques trade; grand scale establishments such as Lenygon & Morant, White Allom, Thornton-Smith and Keebles; department-store studios including those at Heal’s, Waring & Gillow and Fortnum & Mason; and individual practitioners and designers including Syrie Maugham, Sibyl Colefax, Dolly Mann and Ronald Fleming. In a period rife with social and political upheavals and conflicting ideologies as well as technological advancement and life-style changes, the study’s analysis aims to provide a broader understanding of the way in which decorators proactively negotiated such conditions and presented a cultural and aesthetic response to modernity through the diversity of their styles.
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Long, Helen Clare. "The British domestic interior 1880 to 1914 : a study of fixed decoration in middle-class housing." Thesis, University of Brighton, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.278557.
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Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making." Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.
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This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.
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Prosser, Siân. "A study of the British Library manuscripts of the Roman de Troie by Benoît de Sainte-Maure : redaction, decoration, and reception." Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/15137/.
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Recent studies of the Roman de Troie have highlighted the need for more research on the extant manuscripts, because of the unreliable nature of the critical edition and the importance of the text to scholars of twelfth -century literature. This study seeks to contribute to knowledge of one of the most popular versions of the Troy legend in medieval France by describing and analysing two little-known manuscripts of the text. London, British Library, Additional 30863 (L2) presents an abridged version of the poem that provides insights into the reception of the poem in the early thirteenth century. London, British Library, Harley 4482 (L 1) contains a series of decorated initials which exhibit a higher than suspected level of engagement with the text on the part of the manuscript's makers. Part I of the thesis concentrates on L2, beginning in chapter 1 with a codicological and palaeographical description, and a discussion of its likely provenance. Chapter 2 develops the codicological analysis, looking at specific evidence of scribal editing and comparing the manuscript with its closest relative to see which abridgments are unique to L2. It concludes with case studies that illustrate the scribe's abridgement techniques via the presentation of the principal female characters. Chapter 3 looks at how the abridgements affect principal warrior figures such as Hector, Achilles and Penthesilee, concluding that the redactor and his public may have had a less nuanced vision of heroism than Benoit. It contrasts L2 with an abridged version of the text in Paris, BibliotMque nationale, fonds fran~ais, 375, in order to bring out the specificity of its approach. Part II focuses on L 1. Chapter 4 provides a full codicological and palaeographical description, and explores the likely provenance of the codex. Chapter 5 consists of a detailed examination of the manuscript decoration, while chapter 6 examines the reception of the Troy myth as evidenced by the contents of the historiated initials, focusing on Hector, Achilles and Penthesilee. The Harley initials are examined within the context of the illuminations of the wider manuscript tradition. Appendix I: the historiated initials of London, British Library, Harley 4482, Montpellier, Bibliotheque interuniversitaire, section medecine, H.25I, and Paris, Bibliotheque nationale, fonds fran~ais 783.
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Gupta, Toolika. "The influence of British rule on elite Indian menswear : the birth of the Sherwani." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7809/.
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‘The Influence of British Rule on Elite Indian Menswear: The Birth of the Sherwani’ is a study of the influence of politics on fashion and the resulting development of new garments. This research is designed to demonstrate the effect on elite Indian menswear of the two centuries of British rule in India. It is an effort to understand how the flowing garments worn by elite Indian men in the 18th century gradually became more tailored and fitted with the passage of time. The study uses multiple sources to bring to light lesser known facts about Indian menswear, the evolution of different garments and especially of the sherwani. The sherwani is a knee-length upper garment worn by South-Asian men, and is considered to be India’s traditional menswear. My study highlights the factors responsible for the birth of the sherwani and dispels the myth that it was a garment worn by the Mughals. Simultaneously, this study examines the concept and value of ‘tradition’ in cultures. It scrutinises the reasons for the sherwani being labelled as a traditional Indian garment associated with the Mughal era, when in fact it was born towards the end of the 19th century. The study also analyses the role of the sherwani as a garment of distinction in pre- and post-independence India.
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Holt, Alexia. "Reviewing Chanel : a catalogue raisonné and critical survey of the dress designs by Chanel published in British and French Vogue, 1916-1929." Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/5391/.
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Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.
Books on the topic "British Decorations"
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Joslin, Edward C. British battles & medals. London: Spink, 1988.
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Hayward, John B., Richard Bishop, and Diana Birch. British battles and medals. 7th ed. London: Spink, 2006.
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Litherland, A. R. Spink's standard catalogue of British and associated orders, decorations & medals, with valuations. London: Spink, 1990.
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Ball, Robert W. D. British army campaign medals. Dubuque, Iowa: Antique Trader Books, 1996.
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Carter, Thomas. MEDALS OF THE BRITISH ARMY, and how they were won. New Delhi: Lancer, 2010.
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Carter, Thomas. MEDALS OF THE BRITISH ARMY, and how they were won. New Delhi: Lancer, 2010.
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Henry, Long William. Medals of the British Navy and how they were won. New Delhi: Lancer, 2011.
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Duckers, Peter. British campaign medals of the First World War. Oxford: Shire Publication, 2011.
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Simenstad, Arne. Norwegian war decorations awarded to members of the British Armed Forces, 1940-1945. London: London Stamp Exchange, 1990.
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Wilkinson-Latham, Robert. Discovering British military badges andbuttons. 2nd ed. Princes Risborough: Shire Publications, 1994.
Find full textBook chapters on the topic "British Decorations"
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Zarach, Stephanie. "Decorating Materials." In British Business History, 88–90. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-13185-3_18.
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Hoffman-Hussain, Candace. "Interfaith Home Decorating: An Exploration of Religiosity and Home Artifacts within British Interfaith Hybrid Coupledom." In Material Religion in Modern Britain, 147–63. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137540638_8.
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Nolan, Emer. "Ulysses, Narrative, and History." In James Joyce’s Ulysses, 155–71. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158304.003.0008.
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Abstract The naive or mythical view of Irish history is important for readers of Joyce, since he uses it throughout Ulysses and Finnegans Wake. The fact that it is endlessly interesting to most Irish-men and inifnitely tedious to most Englishmen can be a serious obstacle to the understanding of Joyce’s major works. Toward the end of chapter 15 of Ulysses (“Circle”) Major Tweedy, father of Molly Bloom, and member of the Royal Dublin Fusiliers, who “rose from the ranks” (U 4.63–64) of the British army, confronts the Citizen, a dropsical Irish nationalist: “(Major Tweedy and the Citizen exhibit to each other medals, decorations, trophies of war, wounds. Both salute with fierce hostility)” (U 16.4622–24). “Massed bands,” further stage directions tell us, “blare Garryowen and God Save the King.” Garryowen is the name of the Citizen’s dog in chapter 12 (“Cyclops”) and of a place in Limerick. It is also the title of an Irish drinking song.
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Manning, Jane. "JONATHAN COLE (b. 1970)Sorful Ter (1997, revised 2001)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 41–43. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0014.
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This chapter focuses on British composer Jonathan Cole’s Sorful Ter (1997, revised 2001). This pair of settings of complementary medieval poems displays Cole’s strong compositional persona and sensitivity to atmosphere. The two songs are extremely moving, unified by the fact that the same character, the Virgin Mary, is singing. In the first (‘The Virgin’s Song’), she bemoans in a lullaby the poverty-stricken fate of her baby son, and in the second (‘Lovely Tear of Lovely Eye’), she agonizes over his death. The musical treatment, however, is markedly different. The first song is relatively straightforward and intimate in feeling, but the second is elaborate in the extreme—teeming with decorations, trills, grace notes, and intricate rhythms. Both performers are given a highly satisfying task. The pianist will be kept fully exercised, with a wealth of bravura passages and piercing rhythmic patterns. Despite the atonality of the idiom, the composer frequently returns to an anchoring base note, even amongst the most florid vocal lines, and this will help the singer’s orientation.
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Moore, Daniel. "‘But is it possible to live in such a motley setting?’ The modernist interior in Britain." In Insane Acquaintances, 83–120. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0004.
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This chapter details the encounters between modernist art and design and the British home. Using a range of case studies – in particular the Omega Workshops, the Isokon building in Hampstead and the activities of the Design Industries Association and Council for Art in Industry – it explores the reception of modernist home design and decoration in Britain in the decades before the Second World War. In particular, it discusses the rise of modernist design and decoration institutions, and charts their development and organisation.
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Beeson, Anthony. "Acroterial decoration and cantharus fountains." In Villas, Sanctuaries and Settlement in the Romano-British Countryside, 163–96. Archaeopress Publishing Ltd, 2023. http://dx.doi.org/10.2307/jj.608104.15.
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"Transforming Skin – Body Decoration in the British Iron Age." In Controlling Colours, 91–97. Archaeopress Publishing Ltd, 2016. http://dx.doi.org/10.2307/j.ctvxw3nwq.14.
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Moore, Daniel. "Postimpressionism™." In Insane Acquaintances, 30–59. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0002.
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This chapter explores the context and after-effects of the exhibition ‘Manet and the Postimpressionists’ (1910). While seen, rightfully, as a central moment in modernism’s introduction to the British public, by way of the encounter with the work of Manet, Cezanne, Van Gogh, Matisse and others, few studies have engaged with the explanatory and educational context of the exhibition, nor on the ways in which Postimpressionism became so central to British modernist design and decoration. This chapter, in particular, looks at Roger Fry’s writings on Postimpressionism, and argues that the term was simultaneously one that denoted both an artistic style and a pedagogical strategy designed to educate public taste.
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Smith, Amy C. "Winckelmann’s Elegant Simplicity." In Drawing the Greek Vase, 57–83. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192856128.003.0003.
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Abstract This chapter considers how changing representational strategies in drawing the Greek vase from the middle of the eighteenth to the beginning of the nineteenth centuries influenced the public perception of these objects and the commercialization of Neoclassical reproductions and adaptations. At this time, Greek vases came to be admired, not least by Johann Joachim Winckelmann, for their simplicity of design in both form and decoration. The discussion analyses how the vase came to be perceived as a mere two-dimensional canvas, the influence of the linear ‘international style’, and the translation of the ancient painters’ lines from figural details to indications of pictorial depth and incident light. Analysis of the work of two British manufacturers enables a deeper understanding of the influence of drawings of Greek vases. These include Josiah Wedgwood’s use of the art of John Flaxman and of William Hamilton’s first collection to produce three-dimensional wares inspired by antiquity, and Josiah Spode II’s use of Thomas Kirk’s renderings of Hamilton’s second collection in designing his ‘Greek’ series of blue-and-white transferware.
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Powrie, Phil. "Un dimanche a la campagne: Nostalgia, Painting, and Depressive Masochism." In French Cinema in the 1980s, 38–49. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711186.003.0004.
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Abstract IN the introduction to this section I explored various ways in which this film is nostalgic: the reference to the tradition de qualite implied by the use of a Bost novel, the pre-First World War setting, rurality, and the emphasis on childhood. But at its most basic it is a film about a painter and his relationship with his work, and nostalgia is also, and more importantly, constructed by continual reference to painting. Apart from the discussions concerning Monsieur Ladmiral’s career as a painter, many shots are patterned on recognizable paintings in the French Impressionist and Nabi tradition. My concern here is with the implications, both practical and theoretical, of such intertextual references. I shall argue that painting, far from being superstructural decoration, is essential for the construction of nostalgia, and allows us to develop a theory of the nostalgia film which can build upon Higson’s ideological analysis of the British heritage film, by introducing the psycho¬ analytic paradigm which emphasizes the spectator’s position in relation to the work of the film.
Conference papers on the topic "British Decorations"
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Mellor, J. "An Image-Based Three-Dimensional Digitizer for Pre-Decorating Thermoformed Parts." In British Machine Vision Conference 2003. British Machine Vision Association, 2003. http://dx.doi.org/10.5244/c.17.39.
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