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Journal articles on the topic 'Hogarth, William'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

KRYSMANSKI, B. W. "WILLIAM HOGARTH." Notes and Queries 44, no. 2 (June 1, 1997): 241—a—241. http://dx.doi.org/10.1093/nq/44-2-241a.

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KRYSMANSKI, B. W. "WILLIAM HOGARTH." Notes and Queries 44, no. 2 (1997): 241—a—241. http://dx.doi.org/10.1093/nq/44.2.241-a.

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3

Rykov, Anatolii V. "William Hogarth, Frederick Antal and Deconstruction." Actual Problems of Theory and History of Art 10 (2020): 595–601. http://dx.doi.org/10.18688/aa200-4-53.

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4

Erwin, Timothy. "William Hogarth and the Aesthetics of Nationalism." Huntington Library Quarterly 64, no. 3/4 (January 2001): 383–410. http://dx.doi.org/10.2307/3817918.

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5

New, Melvyn. "William Hogarth andjohn Baldessari: Ornamenting Sterne'sTristram Shandy." Word & Image 11, no. 2 (April 1995): 182–95. http://dx.doi.org/10.1080/02666286.1995.10435912.

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6

Gilley, Sheridan. "The Legacy of William Hogarth, 1786–1866." Recusant History 25, no. 2 (October 2000): 249–62. http://dx.doi.org/10.1017/s0034193200030065.

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William Hogarth was born on 25 March 1786 of a small landowning family in Dodding Green, near Kendal, in Westmorland. He and his older brother Robert were among the earliest students, in 1796, to enter the new northern seminary of Crook Hall, established in 1794 on its removal from Douai in northern France, in the bloody aftermath of the French Revolution. He and his contemporaries such as George Brown, the first Bishop of Liverpool, felt themselves to be foundationers, the very inaugurators of the next stage of the tradition. The Ushaw discipline was a strong one: rising at six, meditation in chapel until 7am, then Mass to 7.30, then study until breakfast at a quarter to nine, school from 9.30, dinner at 1.00, study at 3.00, prayer at 7.00 till supper, second prayers at 9.15, and then bed. There were two play days a week. The simple austerity of this life, pursued over thirteen impressionable years from the age of ten, left its mark. On the other hand, Hogarth or his fellow future bishop George Brown recorded his enormous educational debt to his brilliant young preceptor, the historian John Lingard: ‘I learned more in one month’, the writer recalled, ‘than I had done in six, under my former pedagogue; and I also remember that, while he [Lingard] was listening to me translating Latin into English, he was turning over the leaves of a large folio, and making notes for his history, and yet nothing escaped him of what I was reading.’
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Ramos, Artur. "A linha da beleza de William Hogarth." Revista Filosófica de Coimbra 17, no. 33 (2008): 147–57. http://dx.doi.org/10.14195/0872-0851_33_6.

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8

Taylor, Brian. "A Portrait of Daniel Locke by William Hogarth." Antiquaries Journal 77 (March 1997): 401–6. http://dx.doi.org/10.1017/s0003581500075296.

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9

Santesso, Aaron. "William Hogarth and the Tradition of Sexual Scissors." SEL Studies in English Literature 1500-1900 39, no. 3 (1999): 499–521. http://dx.doi.org/10.1353/sel.1999.0030.

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Santesso, Aaron. "William Hogarth and the Tradition of Sexual Scissors." Studies in English Literature, 1500-1900 39, no. 3 (1999): 499. http://dx.doi.org/10.2307/1556217.

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11

Casteel, Sarah Phillips. "David Dabydeen’s Hogarth: Blacks, Jews, and Postcolonial Ekphrasis." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 1 (December 16, 2015): 117–33. http://dx.doi.org/10.1017/pli.2015.27.

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Eighteenth-century satirical artist William Hogarth figures centrally in Guyanese writer David Dabydeen’s ekphrastic postcolonial fiction. In particular, Dabydeen’s novels A Harlot’s Progress and Johnson’s Dictionary invoke plate 2 of Hogarth’s 1732 series A Harlot’s Progress, which depicts the encounter of a cuckolded Jewish merchant, his mistress, and a turbaned slave boy.In this article, I argue that Dabydeen’s strategy of introducing visual intertexts into his fiction encourages a comparative reading of the representational regimes that historically have shaped popular perceptions of blacks and Jews. Situating Dabydeen’s Hogarth novels as part of a larger tradition in postwar Caribbean writing of advancing an identificatory reading of Jewishness, I examine how Dabydeen’s novels illustrate the need to broaden discussions of the relationship between postcolonial and Jewish studies beyond the question of Holocaust memory.
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Révauger, Cécile. "William Hogarth et la franc-maçonnerie : jeux de lumière." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 1, no. 1 (1999): 277–92. http://dx.doi.org/10.3406/xvii.1999.1448.

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13

Wagner, Hans-Peter. "Eroticism in Graphic Art: The Case of William Hogarth." Studies in Eighteenth Century Culture 21, no. 1 (1992): 53–74. http://dx.doi.org/10.1353/sec.2010.0309.

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14

Dean, Christian. "Scholars at a Lecture: William Hogarth and Enlightenment London." Neurosurgery 55, no. 2 (August 1, 2004): 436. http://dx.doi.org/10.1227/00006123-200408000-00033.

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15

Renders, Helmut. "O consumo de álcool segundo as gravuras Beer Street e Gin Lane de William Hogarth e as obras de John Wesley: convergências e diferenças." História, Ciências, Saúde-Manguinhos 19, no. 4 (December 2012): 1191–218. http://dx.doi.org/10.1590/s0104-59702012000400006.

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Compara as gravuras Gin Lane e Beer Street, de William Hogarth, com textos do seu contemporâneo John Wesley, spiritus rector do movimento religioso metodista. Embora em algumas gravuras Hogarth tenha retratado o movimento metodista como perigosamente entusiasta, os dois defenderam uma agenda próxima quanto ao consumo de álcool. A semelhança entre as duas formas de compreender a questão é explicada por costumes culturalmente estabelecidos, e a diferença por uma perspectiva social distinta.
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16

Zhu, Xuyun, Yun Luo, Yanlin Huang, and Xuming Wen. "Unlocking the underlying information of golden ratio in the Hogarth curves." International Journal of Clothing Science and Technology 30, no. 6 (November 5, 2018): 738–46. http://dx.doi.org/10.1108/ijcst-08-2017-0119.

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Purpose Curves with various profiles have been demonstrated to be more attractive and decorative than the straight lines by William Hogarth. Among all kinds of curves, Hogarth proposed seven serpentine lines as the most beautiful curves, i.e., Hogarth curves. Those seven Hogarth curves are subsequently applied in a wide range of fields, e.g., sculpture, painting, architecture and fashion design, indicating their significance to the development of the formal beauty. Recently, the beauty of Hogarth curves has been suspected to be induced by their special-designed curvature, which could have the potential relationship with the Golden Ratio. The purpose of this paper is to explore the relationship between the Hogarth curves and golden ratio by comparing the curvature of curves with the Fibonacci sequence. Design/methodology/approach Each of the Hogarth curves was fully restored and divided into two parts according to the turning point of the curvature; the ratios of span, curvature and angles between these two parts were compared with the Fibonacci sequence. Findings The experimental results disclosed that the ratio of the fourth Hogarth curve, which was considered as the most beautiful line by Hogarth, was infinitely approaching the golden ratio. Based on the relationship between the fourth Hogarth curve and the golden ratio, the ratios of each curve were employed to define and normalize these curves, providing a quantitative way to redraw the Hogarth curves. Originality/value This research work unlocked the information of the relationship between the Hogarth curves and golden ratio, and proposed an effective and convenient mathematic way to quantify the Hogarth curves. The experimental findings disclosed the underlying mechanisms of the beauty of the forth Hogarth curves. Such a fundamental study will promote the establishment of the normalized methods for evaluating the beauty of arts and provide novel ideas for researchers and industrial technologists to use the Hogarth curves.
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17

Bulckaen-Messina, Denise. "Regard et vision dans A Rake's Progress de William Hogarth." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 34, no. 1 (1992): 131–45. http://dx.doi.org/10.3406/xvii.1992.1233.

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18

Mannheimer, Katherine. "Indexing the Indecorous in the Life and Work of William Hogarth." Eighteenth Century 54, no. 4 (2013): 559–64. http://dx.doi.org/10.1353/ecy.2013.0043.

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19

Jaffe, Barbara. "William Hogarth and Eighteenth Century English Law Relating to Capital Punishment." Law and Literature 15, no. 2 (July 2003): 267–78. http://dx.doi.org/10.1525/lal.2003.15.2.267.

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20

Fierobe, Claude. "Monde du théâtre, théâtre du monde dans l'œuvre gravé de William Hogarth." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 33, no. 1 (1991): 61–75. http://dx.doi.org/10.3406/xvii.1991.1211.

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21

De León, Laila Luna. "Humor e Crítica Social na Arte de Hogarth na Inglaterra Setecentista." Fronteiras 20, no. 35 (August 22, 2018): 154–73. http://dx.doi.org/10.30612/frh.v20i35.8638.

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O presente artigo tem como objetivo refletir sobre a sátira política na Inglaterra do século XVIII, em particular sobre as obras do pintor e gravador William Hogarth. O artista proveniente das classes médias e contrário a uma arte acadêmica e elitista produziu uma vasta obra de sátiras, que tinham como objetivo comentar e instigar a reflexão sobre a sociedade moderna dentro de uma proposta ilustrada reformista e pedagógica. Uma de suas principais características era o uso do humor, considerado um gênero vulgar, com elementos clássicos para tecer suas observações sobre o mundo moderno. As imagens produzidas por Hogarth são uma fonte riquíssima sobre as visões de mundo e valores próprios da modernidade, e, portanto, buscaremos através de algumas de suas sátiras políticas selecionadas, pensar suas estratégias de usar o humor para ensinar lições morais e tecer duras críticas aos governantes e as classes mais ricas.
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22

Ohmer, Susan. "The Origins of Comics from William Hogarth to Winsor McCay by Thierry Smolderen." Cinema Journal 56, no. 2 (2017): 165–68. http://dx.doi.org/10.1353/cj.2017.0015.

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23

Rauser, Amelia F. (Amelia Faye). "The Dumb Show: Image and Society in the Works of William Hogarth (review)." Eighteenth-Century Studies 33, no. 1 (1999): 141–43. http://dx.doi.org/10.1353/ecs.1999.0058.

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24

Ogée, Frédéric. "Je-sais-quoi : la représentation des formes du vivant dans l'œuvre de William Hogarth." Dix-huitième Siècle 31, no. 1 (1999): 249–68. http://dx.doi.org/10.3406/dhs.1999.2295.

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25

Baudino, Isabelle. "Dérision de l’étranger et exaltation du Britannique dans l’œuvre de William Hogarth 1697-1764." Revue LISA / LISA e-journal, Vol. I - n°1 (January 1, 2003): 85–99. http://dx.doi.org/10.4000/lisa.3123.

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26

Endres, Johannes. "Verwicklungen. William Hogarth und die deutsche Literatur des 18. Jahrhunderts (Lessing, Herder, Schiller, Jean Paul)." Poetica 37, no. 3-4 (December 19, 2005): 506–11. http://dx.doi.org/10.30965/25890530-037-03-04-90000014.

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27

Katritzky, M. A. "William Hogarth (1697–1764) and book illustration I: Hudibras, Quixote and the Littlecote House murals." Theatralia, no. 1 (2021): 313–56. http://dx.doi.org/10.5817/ty2021-1-28.

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28

Baudino, Isabelle. "William Hogarth et la peinture baroque continentale : emprunts, satire et création dans The Pool of Bethesda." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 54, no. 1 (2002): 81–96. http://dx.doi.org/10.3406/xvii.2002.1640.

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29

Grierson, Roderick. "A Proper Cutt: William Hogarth, Motraye’s Travels, and the Dervishes who Serve God on their Tiptoes." Mawlana Rumi Review 3, no. 1 (January 25, 2012): 95–119. http://dx.doi.org/10.1163/25898566-00301007.

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30

McKiernan, M. "William Hogarth: The fellow 'prentices at their looms, a drawing for Plate 1 of Industry and Idleness, 1747." Occupational Medicine 60, no. 1 (January 1, 2010): 8–9. http://dx.doi.org/10.1093/occmed/kqp181.

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31

Bukoff, Ronald N. "Pickpockets, Prostitutes, and Pimps: The Bawdy Baroque of William Hogarth and John Gay–Narrative Art and Ballad Opera." Music Reference Services Quarterly 10, no. 3-4 (September 30, 2008): 95–116. http://dx.doi.org/10.1080/10588160802111253.

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32

Boyko, Lyudmila B., Kristina S. Chugueva, and Alexandra K. Gulina. "Peritext of the Russian translation of William Hogarth’s Analysis of Beauty: a case study." Slovo.ru: Baltic accent 12, no. 1 (February 2021): 34–49. http://dx.doi.org/10.5922/10.5922/2225-5346-2021-1-2.

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Translation of philosophical texts is a special challenge because of specific philosophical idiom and conceptual complexity of the narrative. It is not surprising that such translations are often accompanied by commentaries where the translator steps out of the shadows to justi­fy the translational decisions. This kind of supplementary text called the “translational peritext” is under study in this paper aiming to reveal the cognitive effort the translation process involves, and to explore the author-translator-reader relationship. The purpose of the article is to analyze paratextual elements in the translation of an essay on philosophical aes­thetics in search of answers to three main questions: What does the translator choose to com­ment on, and why? What is specific about the role and function of translational peritext in philosophical artistic discourse? How do the commented translational decisions affect, if at all, the reader’s understanding of the author’s stance? The problem of revealing the translator’s agency, his/her motivations and decision-making is investigated on the basis of the essay Analysis of Beauty by the celebrated 18th century English artist William Hogarth — an in­fluential philosophical treatise whose ideas have never lost their relevance. The paper starts with the brief account of the concept of paratext, its types and functions; it will then proceed to specificities of philosophical translation. In the main part of the article, the background information on the material under study precedes the analysis of the identified commented translational issues.
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Wolfe, Cary. "Human, All Too Human: “Animal Studies” and the Humanities." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 564–75. http://dx.doi.org/10.1632/pmla.2009.124.2.564.

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Trying to give an overview of the burgeoning area known as animal studies is, if you'll permit me the expression, a bit like herding cats. My recourse to that analogy is meant to suggest that “the animal,” when you think about it, is everywhere (including in the metaphors, similes, proverbs, and narratives we have relied on for centuries—millennia, even). Teach a course or write an article on the subject, and well-intentioned suggestions about interesting material pour in from all quarters. In my field alone, there's not just, say, the starring role of bear, deer, and dog at the heart of William Faulkner's Go Down, Moses and the futility of trying to imagine Ernest Hemingway without his fraternity of bulls, lions, and fish or Marianne Moore without her menagerie of pangolins and jellyfish. There's also King Kong, Babe, Charlotte's Web, Seabiscuit, The Silence of the Lambs, The Horse Whisperer, and The Fly. There's the art of Damien Hirst, Joseph Beuys, Sue Coe, William Wegman, Bill Viola, Carolee Schneeman, Lynn Randolph, and Patricia Piccinini. And all those bird poems, from Percy Shelley's skylark and John Keats's nightingale to Edgar Allan Poe's raven and Wallace Stevens's blackbird. As any medievalist or early modern scholar will tell you, the question of the animal assumes, if anything, even more centrality in earlier periods; indeed, recent and emerging scholarship suggests a picture in which the idea of the animal that we have inherited from the Enlightenment and thinkers such as Descartes and Kant is better seen as marking a brief period (if the formative one for our prevailing intellectual, political, and juridical institutions) bookended by a pre- and posthumanism that think the human/animal distinction quite otherwise. So there's also William Hogarth and Hieronymus Bosch, The Faerie Queene and Beowulf. And, of course, there is the central place of the animal in non-Western literature and culture, written and oral, which would require another essay altogether.
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Mainberger, Sabine. ""No remoinho da tendência-espiral": questões de estética, literatura e ciências naturais na obra de Goethe." Estudos Avançados 24, no. 69 (2010): 203–18. http://dx.doi.org/10.1590/s0103-40142010000200013.

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Em seus últimos anos de vida, Goethe esteve obcecado pela assim chamada "tendência-espiral". Essa questão, contudo, de modo algum constituía algo novo para ele, como demonstram claramente suas formulações anteriores em torno de linhas curvas e espirais. De fato, essas formas encontram-se nas zonas de intersecção entre literatura, artes visuais (em especial, as ornamentais) e estudos científicos. Uma referência crucial para as estéticas do final do século XVIII foi a famosa concepção de William Hogarth sobre a "linha da beleza" (1753), a qual também deixou vestígios nos escritos de Goethe, até mesmo em sua fase tardia. O presente trabalho examina sua elegia "Amynthas" (1799), o ensaio "Touro fossilizado" (1822), assim como textos sobre a metamorfose das plantas e a tendência-espiral da vegetação. Formas espirais parecem ter exercido fascínio tão intenso sobre Goethe porque elas possibilitam, com seus múltiplos significados e funções, extrapolar fronteiras entre diferentes gêneros e disciplinas e estabelecer conexões entre diferentes pensamentos. Essa atividade intelectual transgressora, a que chamaríamos de "interdisciplinaridade", continuou sendo modelar para importantes pensadores do século XX, tais como Paul Valéry, Walter Benjamin ou Aby Warburg.
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35

Boyko, L. B., and A. K. Gulina. "Translating philosophical aesthetics: Peritext as a win­dow into the translator's mind. Part 2." Slovo ru Baltic accent 12, no. 2 (May 2021): 78–94. http://dx.doi.org/10.5922/2225-5346-2021-2-5.

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Providing space for elucidating key translational issues is not a mundane practice but a privilege only hand-picked texts enjoy, philosophical writings among them. The challenge of translating philosophical discourse is widely recognized but scarcely explored. In this article, translation of philosophical texts is regarded as a procedure of knowledge transfer from one intellectual space into another and of knowledge-making through reconceptualization of key terms. This process is made partly observable in various types of notes — a special cluster of additional information known as translational peritext where translators are given an oppor­tunity to explicate their decisions made in the course of translation. Among translation hur­dles in philosophical discourse are technical terms which are often either in­vented or re-conceptualized by the scholar and then need to be re-contextualized by the trans­lator. Seeking to reflect on translation as a heuristic process, this paper will focus on the reso­lution of the potential cognitive dissonance and the translator’s justification of sense-oriented strategies in dealing with such key concepts as ‘connoisseur’, ‘grace’, ‘sublime’, and ‘je ne sçai quoi’ in the translation of the seminal work on the philosophy of aesthetics Analysis of Beauty by the celebrated 18th century English artist William Hogarth.
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Iakovleva, Svetlana A. "Specifics of Theatrical Concepts of the Creative Method of William Hogarth in His Graphic Series “A Rake’s Progress” and I. Stravinsky’s Opera “The Rake’s Progress”." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 1 (January 2016): 140–49. http://dx.doi.org/10.17516/1997-1370-2016-9-1-140-149.

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37

Lippens, Ronnie. "The Light of High Modern Discipline: Viewing the Birth, Life and Death of the Disciplinary Society in William Hogarth, Joseph Wright of Derby and Edward Hopper." Law and Humanities 8, no. 1 (June 9, 2014): 1–18. http://dx.doi.org/10.5235/17521483.8.1.1.

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38

Endres, Johannes. "Jochen Bedenk: Verwicklungen. William Hogarth und die deutsche Literatur des 18. Jahrhunderts (Lessing, Herder, Schiller, Jean Paul), Würzburg: Königshausen & Neumann 2004 (Diss. München 2003), 259 S." Poetica 37, no. 3-4 (June 27, 2005): 506–11. http://dx.doi.org/10.30965/25890530-0370304013.

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Suraganov, S. K. "The leading ornamental motif koshkar muyiz in Kazakh ornamentation: in search of the primordi." Turkic Studies Journal 3, no. 2 (2021): 99–110. http://dx.doi.org/10.32523/2664-5157-2021-2-99-110.

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The ornamental motif of Koshkar Muyiz – the legacy of the Ancient times – remains key in the traditional art of felt craft. The horn-shaped figures of the Kazakhs had been a centerpiece of scholarly discourses of Kazakh, Russian and Soviet science over the entire 20th century. The first attempts to find their meaning were made by the German ethnologist R. Karutz (1911), the Russian researchers S. Dudin (1928), B. Kuftin (1926), E. Schneider (1927), and others. The horn-shaped motif had been reviewed in the works of archaeologists, art historians and ethnographers since the second half of the 20th century. Scientists determined the time of its origin, its geography, and attempted to translate its semantic content. It was found that the curvilinear motif had not appeared earlier than the New Stone Age, but in the Bronze Age, it had developed in the form of various styled designs. This motif obviously played a key role in the ornamental complex of the Turkic-Mongol peoples. Based on the interdisciplinary approach, the author offers a number of reasons to explain its viability, including the internal form of the word - name of the ornamental motif, which is epic in nature since it can cause a special aesthetic reaction in viewers. The ornamental motif seems to play the role of a “figure of memories” and have the status of a “substantiative past”. It is preserved as a linguistic objectification (name) in an extra-linguistic format as well, in the form of an Iconic Model of a transcultural anagram that reproduces the ancient ideological content with symbolic and magical scope. Acting as a canon, the Koshkar Muyiz motif is a sort of a “Signature of the Era” with its artistic charm and is constructively based on the line called the “Line of Beauty” by William Hogarth.
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Hall, Richard A. "The Origins of Comics: From William Hogarth to Winsor McCay. Thierry Smolderen. Translated by Bart Beaty and Nick Nguyen. Jackson: University Press of Mississippi, 2000 (English translation, 2014). 160 pp. $35.00 cloth." Journal of Popular Culture 48, no. 6 (December 2015): 1402–4. http://dx.doi.org/10.1111/jpcu.12370.

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Naini, Farhard B. "William Hogarth's The Painter and His Pug." Archives of Facial Plastic Surgery 12, no. 2 (March 1, 2010): 136. http://dx.doi.org/10.1001/archfaci.2009.136.

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Košenina, Alexander. "nr="83"Hinter der Opernbühne: Thomas Bernhards : ,,Der Ignorant und der Wahnsinnige“ knüpft an die Tradition der ,metamelodrammi‘ an." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 83–93. http://dx.doi.org/10.3726/92169_83.

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Abstract Der Beitrag geht über musikalische Korrespondenzen und Kontrafakturen von Mozarts Zauberflöte in Thomas Bernhards Der Ignorant und der Wahnsinnige hinaus. Diskutiert werden Rückgriffe auf das Genre der ,metamelodrammi‘ oder Metaopern – am Beispiel von William Hogarths Kupferstich Strolling Actresses Dressing in a Barn (1738), von Pietro Metastasios Der Opern-Meister (1733) und Mozarts / Stephanie d. J. Der Schauspieldirektor (1786). Der Wechsel in die Rollenfigur sowie der Kampf um die Stellung als Primadonna kehrt im geradezu pathologischen Perfektionsstreben von Bernhards Königin der Nacht wieder. Die Künstlichkeit dieser herausragenden ,,Koloraturmaschine“ steht in unauflösbarer Spannung zur Darstellerin, die an Erschöpfung, Überforderung und Überdruss leidet. Während die Zauberflöte aus dem Dunkel ins Licht führt, drohen in Bernhards Stück Selbstaufgabe, Eskapismus und totale Finsternis.This essay suggests some parallels between Thomas Bernhard’s Der Ignorant und der Wahnsinnige and the genre of ,metamelodrammi‘ or ,meta-opera‘. Musical correspondences with Mozart’s The Magic Flute have previously been demonstrated. This article considers meta-operas such as Pietro Metastasio’s The Opera Master (1733) and Mozart’s Der Schauspieldirektor (1786), and engravings such as William Hogarth’s Strolling Actresses Dressing in a Barn (1738) as further possible reference points for Bernhard’s play. The actors’ role changes as well as the struggle for the lead as prima donna reappear in the almost pathological struggle for perfection of Bernhard’s Queen of the Night. The artificiality of this outstanding ,,coloratura machine“ is inextricably linked to the performer herself, who suffers from exhaustion, physical and mental overload. Whereas The Magic Flute leads audiences from the darkness into the light, Bernhard’s play deals with self-abandonment, escapism, and utter darkness.
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Mindham, R. H. S. "William Hogarth's depiction of Bedlam – psychiatry in pictures." British Journal of Psychiatry 219, no. 4 (September 27, 2021): 569. http://dx.doi.org/10.1192/bjp.2021.85.

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Dabydeen, David. "REFERENCES TO BLACKS IN WILLIAM HOGARTH'S ANALYSIS OF BEAUTY." Journal for Eighteenth-Century Studies 5, no. 1 (October 1, 2008): 93–103. http://dx.doi.org/10.1111/j.1754-0208.1982.tb00460.x.

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Fordham, Douglas. "William Hogarth's The March to Finchley and the fate of comic history painting." Art History 27, no. 1 (February 2004): 95–128. http://dx.doi.org/10.1111/j.0141-6790.2004.02701004.x.

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Beirne, Piers. "Raw, roast or half-baked? Hogarth’s beef in Calais Gate." Theoretical Criminology 22, no. 3 (August 2018): 426–44. http://dx.doi.org/10.1177/1362480618787174.

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Scholars of human–animal studies, literary criticism and art history have paid considerable attention of late to how the visual representation of nonhuman animals has often and sometimes to great effect been used in the imagining of national identity. It is from the scrutinies of these several disciplines that the broad backcloth of this article is woven. Its focus is the neglected coupling of patriotism and carnism, instantiated here by its deployment in William Hogarth’s painting Calais Gate (1749). A pro-animal reading is offered of the English artist’s exhortation that it is in the nature of ‘true-born Britons’ to consume a daily dish of roast beef served with lashings of francophobia and anti-popery. The article suggests that alert contemporary viewers of Calais Gate would nevertheless have noticed that Hogarth’s painterly triumphalism ironically rekindles the repressed memory of English military defeat and territorial loss. Because the political and religious borders between England and France were so easily defaced and refaced, the accompanying air of uncertainty over national identity would also have infiltrated the perceived authenticity of English roast beef. The article draws on animal rights theory, on nonspeciesist green criminology and on green visual criminology in order to oppose the historical dominance of human interests over those of other animal species in discourses of abuse, cruelty and harm.
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Andrea Immel. "The Didacticism That Laughs: John Newbery's Entertaining Little Books and William Hogarth's Pictured Morals." Lion and the Unicorn 33, no. 2 (2009): 146–66. http://dx.doi.org/10.1353/uni.0.0461.

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Bartual, Roberto. "William Hogarth's A Harlot's Progress: the beginnings of a purely pictographic sequential language." Studies in Comics 1, no. 1 (April 1, 2010): 83–105. http://dx.doi.org/10.1386/stic.1.1.83/1.

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Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’." Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.

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Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market.’ His most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741-42).
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Salter, David. "Remembering the Catholic Middle Ages: The Franciscans, English National Identity, and William Hogarth’s The Roast Beef of Old England." Logos: A Journal of Catholic Thought and Culture 16, no. 4 (2013): 99–123. http://dx.doi.org/10.1353/log.2013.0038.

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