Добірка наукової літератури з теми "Artists' writings, English"

Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.

This selection of texts by the Argentinean artist Roberto Jacoby includes seven that are here published in English for the first time, and two others rendered in new translations. The majority of the texts (all but three) were written in the 1960s. Some, such as “Scale Model of an Artwork” (1966), “Automatic Circuit (work no. 1 for Telephone Circuit)” (1967), and “Message at the Di Tella Institute” (1968), are short descriptions of artworks. Another, “An Art of Communications Media (Manifesto)” (1967), takes the form of a manifesto, co-written by Jacoby and two other artists. “Demonstration: A Mass Media Artwork” (1967) touches on various issues topical in the mid-1960s art world in Argentina and beyond, including the relationship between art and life, society, and politics, and “Against the Happening” (1967) considers an art that harnesses the mass media for its production. The section also includes translations of song lyrics written by Jacoby that link intimate themes of love with international politics. The songs were put to music and recorded by the Argentinian rock group Virus for its fifth record, “Surfaces of Pleasure” (1987). The section concludes with “Strategy of Joy” (2000), an article that theorizes a biopolitical form of resistance to the civil-military dictatorship that brutalized the Argentinian population in the 1970s and early 1980s, and “Report on the Venus Project” (2002), which focuses on an experimental community formed in the midst of the social, economic and political crisis that befell Argentina in the summer of 2001, and, according to some, is ongoing.

Summary Owen Barfield (1898–1997), a cultural critic and historian, has been appreciated by literary scholars and artists including C. S. Lewis, T. S. Eliot, and W. H. Auden, but he has been relatively unnoticed by linguists despite the fact that he advanced a thoughtfully reasoned and documented theory of language history throughout his many writings. In his theory of etymological semantics, Barfield asserted that the etymology of words reveals an evolution of human consciousness. Barfield’s relationship between language and consciousness is significant to the history of linguistics because he not only described what changed in a language’s history, but he also explained why it changed. In his seminal History in English Words (1926), a book written at the beginning of his nearly 70-year career as a scholar and writer, Barfield initially presented his theory with examples from the history of English beginning with its origins in Indo-European. This theory became a central and unifying theme in all of his work – a theory which he refined and expanded in many later writings, especially in Poetic Diction (1928), Speaker’s Meaning (1967), and History, Guilt, and Habit (1979).

The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.

Women, the glorious creation of God, have contributed magnificently to the growth of human civilization performing distinctive roles as well as holding influential positions miraculously throughout the history of humanity. India's illustrious past passionately and proudly tells the inspirational stories of strong, independent women who glorified our society and culture with their forceful presence. If we look at the contributions that they have made throughout the history of human civilization, we can see that they have contributed in a variety of ways to the formation of society as a whole. They personify "Shakti," the living manifestation of divine force. Undoubtedly, the universe endows women with innate resilience, as they have demonstrated for decades. They have fought their battles by first recognizing and then publicly embracing their self-worth. Their achievements can be acknowledged as philosophers, global leaders, businesspeople, poets, playwrights, authors, artists, journalists, painters, musicians, and other creative types. Though women have contributed multifariously to society at large, this essay will focus on the contributions made by women to Indian English literature. This study places a significant emphasis on the contributions made by women to Indian English literature throughout the course of its magnificent history, which spans from before the country's independence to the present day. In addition, the paper will analyse a number of different Indian authors in order to get a deeper comprehension of women’s writings and the role they have in the world of literature. This paper will comprehensively study the incredible contribution of writers such as Kamala Das, Shashi Deshpande, Bharti Mukherjee, Kamla Markandaya, Nayantara Sahgal, Arundhati Roy, Shobha De, Anita Desai, Manju Kapur, and Kiran Desai, who have paved the way for future generations of Indian women writers to express themselves. They are the progenitors of resistance, consciousness, and individualism.

Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.

In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era). An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology. The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’. The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi). Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain). As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.

This dossier comprises a selection of the correspondence between Hubert Damisch and Jean Dubuffet as well as six essays written by Damisch on Dubuffet between 1962 and 1985. Both the correspondence and texts are here published in English for the first time. “Jean Dubuffet and the Awakening of Images” (1962), Damisch's second article on Dubuffet, discusses the relationship between material object and idea, or painting and image, in Dubuffet's art since the 1940s. “Work, Art, Artwork” (1962) examines Dubuffet's return to figuration following his abstract works of the late 1950s. “Paris Circus” (1962) is an extended review of the recently completed series Paris Circus, and “Second Method” (1964) investigates Dubuffet's cycle of the Hourloupe in the light of questions of perception present in Maurice Merleau-Ponty's The Eye and The Mind. “DUBUFFET (Jean)” (1969) was written as an entry of the Encyclopedia Universalis. The final essay, “Starting Ground” (1985), was written at the time of the artist's death. It evokes, among other themes, contemporaneity and posterity and Dubuffet's complicated embrace of an artistic career. This essay lays the ground for subsequent texts by Damisch on Dubuffet. The correspondence, which is interspersed amidst the writings, is complete save for a few technical letters concerning the editing of Dubuffet's writings by Damisch in 1967. Damisch himself defines it as “work correspondence.” In these letters, artist and writer debate specific terms, discuss the artist's work and the writer's essays, and provide a glimpse of their complex personal relations.

Esta tese trata do problema da escrita de artigos científicos em inglês como língua estrangeira. Do ponto de vista teórico, foram investigados métodos e técnicas de duas áreas da Inteligência Artificial - Lingüística Computacional e Raciocínio Baseado em Casos -, em busca de soluções para a construção de ferramentas de software que diminuíssem os problemas de interferência da língua materna e de falta de coesão e coerência nos textos escritos por estudantes da área de física experimental, principalmente. Do ponto de vista prático, foram desenvolvidas duas ferramentas de auxilio a escrita. Uma primeira, chamada Ferramenta de Referência, foi implementada utilizando-se o método de análise de corpus para a geração de uma Base de Expressões que contém as colocações do tipo expressões padrão, comumente encontradas em textos científicos de artigos e livros de subáreas de física e informática. O acesso às colocações pode ser feito de três maneiras: através de componentes e sub-componentes da estrutura esquemática de artigos da área de pesquisa experimental, através de palavras-chave pertencentes a este gênero, e pelos padrões retóricos mais comuns que este gênero utiliza. Uma ferramenta de aquisição de conhecimento esta acoplada a Ferramenta de Referência, permitindo extensibilidade, fácil personalização, e transporte (portability) para novos domínios. Testes com alunos de pós-graduação em um curso de Escrita Cientifica no IFQSC-USP comprovaram a eficácia da ferramenta, urna vez que seu uso auxiliou na superação do bloqueio inicial em se produzir um primeiro rascunho de texto, e forneceu input adequado para a escrita de textos coesos. Como se observou também, que esta ferramenta é adequada para usuários com boa recepção da língua inglesa e alguma experiência em escrita cientifica, uma nova ferramenta foi implementada para urna classe de usuários que possuem problemas mais severos quanto à coesão e interferência da língua materna. Ela foi denominada Ferramenta de Suporte, e para sua implementação utilizou-se, alem do método de analise de corpus, a abordagem baseada em casos para modelar as fases da escrita. A análise de corpus nesta segunda ferramenta foi mais detalhada, ficando assim restrita a Seção Introdutória de Artigos Experimentais. Esta análise identificou trinta estratégias retóricas encontradas em artigos científicos, geralmente realizadas por três ou quatro mensagens (denominação para os tipos diferentes de informações) tomadas de um conjunto de quarenta e cinco tipos. A base de casos da implementação atual da ferramenta conta com cinqüenta e quatro instancias de introduções autenticas das revistas Physical Review Letters e Thin Solid Films, um número ainda pequeno que deve ser aumentado para que uma avaliação quantitativa do método de busca seja realizada. Uma ferramenta para auxiliar o engenheiro de conhecimento na aquisição de novos casos e vários filtros para automatizar o processo de edição dos casos foi implementada, tornando o processo de geração de novos casos semi-automático. Os trabalhos futuros com relação a esta segunda ferramenta devem tratar principalmente do acréscimo de casos na base, da avaliação da precisão e revogação da busca, e de testes com usuários, que, com certeza, contribuirão para o aperfeiçoamento de ferramentas construídas nestas bases
This thesis considers the problem of writing scientific papers in English as a foreign language. From the theoretical point of view, techniques from two areas of Artificial Intelligence, namely Computational Linguistics and Case-based Reasoning, were investigated in the search for possible solutions to minimize mother tongue interference and lack of cohesion and coherence in student\" texts, especially in experimental physics. Two writing tools were then developed. The first one, named Reference Version, employed corpus analysis for creating a sentences base containing collocations frequently used in scientific writing. Such collocations could be accessed in one of three ways: according to the components and subcomponents of the schematic structure of a scientific paper, by searching keywords and communicative goals. An acquisition mode was also implemented so that the tool can be customized easily thus allowing portability to other domains and possible extensions within a given domain. Experiments in a technical writing course at IFQSC-USP for graduate student\" have demonstrated the efficacy of the tool. It was particularly useful in helping students to overcome the initial block in the preparation of a first draft and also in providing contextualized linguistic input for producing a cohesive text. It was also observed that this first tool was only helpful for students possessing reasonable reception of the English language and some experience in scientific writing. A new, more sophisticated tool was then proposed and implemented. It is named Support Version and utilizes corpus analysis and the case-based approach as a framework for modeling the different stages of the writing process. Because a more detailed analysis had to be performed, the tool was restricted to the Introductory Section of papers on experimental physics. In this analysis 30 rhetorical strategies were identified which were generally realized linguistically using 3 or 4 rhetorical messages from a set of 45 types of message. The implemented cases base has 54 introductions from the Physical Review Letters and Thin Solid Films journals, which has been shown to be a far too small number for reasonable recall and precision figures to be obtained. A scheme has been incorporated into the tool for adaptations to be made in the cases recovered, by making use of revision rules. In future the tool may be extended in a straightforward way to other parts of a scientific paper or to other areas of research with a semi-automatic edition process of new cases that has been built into the Support tool. This certainly opens the way for customization, which will greatly facilitate the assessment of the tool according to usability criteria

This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.

AbstractUntil recently, due to the Romantic imaginary of the artist-as-genius, the Hispanic literary tradition has been wary of a literary advice industry or academic programs of creative writing. This wariness hindered the professionalization of Hispanic authors, but at the same time it kept Hispanic literature out of anglicized uniformity which permitted, by the mid-twentieth century, a reinterpretation of western literature by writers such as Gabriel García Márquez, Jorge Luis Borges, and Mario Vargas Llosa. Nonetheless since the early 2000s a series of MFA programs in creative writing, first in the United States, but more recently in Latin America and Spain, have been changing Hispanic literature. These programs, with syllabi imported from the Anglophone canons, have influenced a new generation of writers who mirror the English savoir-faire and reject their own literary traditions, which were more experimental, less rooted in realism, and even somewhat baroque. There is, however, also resistance in the field, where workshop-inspired developments coincide with a return to a more Hispanic tradition of innovation.

This chapter traces H.G. Wells' shape-shifting account of the New Republic, as well as offering a novel interpretation of the philosophical foundations of his political thought, focusing in particular on his commitment to an idiosyncratic version of pragmatism. The author's “heretical metaphysical scepticism” — and in particular his nominalism — infused his writings on society and politics, underwriting his critique of both nationalism and racial science. Wells' antinationalism helped motivate a recurrent demand for the creation of vast “synthetic” political associations, including the New Republic, while his hostility to racial theorizing distinguished him from most other unionists. The chapter also discusses the strict distinction between the “English-speaking peoples” and “AngloSaxonism,” while explaining Wells' account of the New Republic in a shared language. Ultimately, it concludes with a discussion of Wells' conflicted attitude to imperial rule, exploring how he struggled to reconcile his early support for the continuation of the British Empire with his dream of Anglo-America.

It examines the historiography of art criticism and writings on Iranian art from the late 1940s to the 2010s, and selectively discusses the various elements of each art historical narrative, including their ideological premises, sources and discourses, the historical models they are based upon, their temporal perspective, as well as their linguistic and terminological choices. These writings consist of periodical articles and critical reviews of exhibitions, reflections from artists, attitudes reflected in various types of articles and books, the latter both in Persian and English. It shows how negotiating notional cultural and political associations, debates on common encounters with modernism, discussions about the values of modern and contemporary artistic practice, questions of authenticity, the constant fluctuation between past and present and their attribution to the nature of Iranian culture reflected in those primary sources. Arranged in a chronological order, the chapter examines these developments to understand how modern and contemporary art of Iran have been perceived throughout this time and how it is reflected through a variety of ideological and conceptual perspectives.

The concept of the ‘Female’ Baroque, derives from Julia Kristeva; the chief objective of this study is to examine the distinctive contribution of women writers and artists, thus addressing a recurring omission in previous scholarship. This chapter discusses major models for women: the Virgin Mary, Mary Magdalen, and the ideal Petrarchan Mistress. Along with the historical realities of patriarchal exploitation of women in the early modern period, I explore the emergent energies of women’s writings, examining whether there were distinctive ‘female’ experiences articulated through early modern discourse. Kristeva’s emphasis on St Teresa of Avila provides a model of the Female Baroque; her concept of ‘intimate revolt’ and her important distinction between the semiotic and the symbolic also inform this discussion.

Abstract Britten’s writings in this period are unlike anything he later penned. Unbridled by lasting fame and public expectations, and buoyed by his well-developed sense of ambition and destiny, his essays attack any number of shibboleths and errant knights. In this, of course, if Auden was not always standing at Britten’s shoulder, he was at least sharpening his pencil. Even when American domicile and war had intervened, when Britten’s absence from England provoked censure and outrage in bodies ranging from the Royal Philharmonic to the Musical Times, when his artistic colleagues Auden and Isherwood were under fire in the Spectator and the House of Commons, he kept up his attack on the musical and political complacency of the country he had left behind. His defence of Mahler (Essay rn) is on one level a remarkably prescient piece about a composer whose true worth would really only be discovered once the LP record had eclipsed its short-breathed predecessor in the early 1950s, but on quite another level it is an attack on English concert programming, on the narrow-minded subscription to a symphonic canon defined to a large extent by Brahms’s death in 1897. To Britten, those who sought a broader definition, such as the BBC’s Edward Clark (Essay 2, the second of four essays written by the jobbing composer to supplement his meagre income), were fighting the same battle that he and his fellow artists (more commonly writers than musicians) were fighting. His piece on ‘England and the Folk-Art Problem’ (Essay 8) draws battle lines-admittedly not of his own authorship (English pastoralists had long been slogging it out with Teutonic infiltrators)-which he fervently believed would define the future of British music. Moreover, the Auden poem quoted at the end of the article represents Britten’s artistic creed in this period:

Abstract ‘Imagining Wales from England’ addresses the literary, artistic, and dramatic works which emerged from the functioning of English Welsh duality in the first half of the twentieth century. It explores the influence of Welsh painter, Augustus John, addressing the network of English Welsh artists who congregated around John in London around the time of the First World War, as well as assessing his children’s relationship with their Welsh heritage. It investigates how some English writers living within diasporic communities, on the borderlands with Wales, or with homes in Wales, creatively made use of imagined interconnections, providing a case study of the author Richard Hughes and analysing the life writing and literary output of authors such as John Owen and Margiad Evans. It highlights the willingness of Welsh national institutions to promote a fluid conception of Welshness which accommodates English artists of Welsh extraction.

Abstract Musical terminology is a frequent source of discombobulation for music scholars. Not only is it unique in the concepts and structures it describes; it is also documented in different ways. Whether to capitalize major and minor, the church modes, and scale degrees; how to document artists’ names and the titles of musical works; how to refer to notes and note names . . . these are just some of the many confusions that arise when writing about music. Chapter 8 brings clarity to the issue by discussing nine key elements within the musical lexicon: (1) capitalization; (2) artists’ names; (3) titles of musical works; (4) notes and note names; (5) time signatures; (6) chords; (7) non-English terms; (8) numbers; and (9) abbreviations. The chapter includes one exercise: a deeply flawed text that is presented for editorial emendation.

Abstract Designed to offer views of Berlioz based both on his own writings and on those of others in his circle, this Study Session, conducted in French, included papers by six scholars from six countries, and a response (in English) from the dean of Berlioz studies, Hugh Macdonald.

Abstract T. S. Eliot (1888-1965) and B. A. Botkin (1901-1975). What can be the purpose of juxtaposing these two individuals, the former the most famous of twentiethcentury poets, the latter a folklorist unfamiliar to most readers? Readers who recognize Botkin’s name—probably as the author of a series of popular folklore treasuries—will still no doubt wonder about the purpose of such a seemingly awkward contrast. Few are likely to know Botkin began his career as a poet interested in folklore. And those who know some biographical data about these two figures, one the descendant of an old New England family, the other a child of Jewish immigrants from Lithuania, will probably find the idea of discussing them together even more puzzling. By background and choice, Botkin represented much of what Eliot detested about modernity—although it is unlikely Eliot knew about Botkin. Botkin, however, like all poets writing in the English language after the publication of The Waste Land (1922), thought about Eliot.

In his introduction to a selection of verse and prose by John Betjeman, Slick but not Streamlined (1947), W. H. Auden attempted to define ‘topophilia’, a particular kind of attachment to landscape and environment which, he said, suffused Betjeman’s writings. ‘Topophilia’, he wrote, has little in common with nature love. Wild or unhumanised nature holds no charms for the average topophil because it is lacking in history; (the exception which proves the rule is the geological topophil). At the same time, though history manifested by objects is essential, the quantity of the history and the quality of the object are irrelevant; a branch railroad is as valuable as a Roman wall, a neo-Tudor teashop as interesting as a Gothic cathedral. Auden regrets (disingenuously, perhaps) that he himself is ‘too short-sighted, too much of a Thinking Type, to attempt this sort of poetry, which requires a strongly visual imagination’. It is a particular brand of literary topophilia, typified by Betjeman, that Auden discusses; but broadly defined it is a far more widespread sensibility in British culture. Requiring not only a visual imagination, but also a wilfully parochial outlook and a reluctance to engage with the homogenizing forces of urban modernity, a topophilia of one sort or another was characteristic of a whole generation of artists and writers in Britain in the 1930s and 1940s. This topophilia is not the same as a love of the countryside, as Auden points out, although that is what it might sometimes be mistaken for. What unites these ‘topophils’ is an interest, sometimes amounting to an obsession, with local landscapes marked by time, places where the past is tangible. For some, such as Betjeman, John Piper, and Geoffrey Grigson, this topophilia—as Auden suggests— is eclectic, including medieval churches, Gothic and mock Gothic architecture, Regency terraces and ancient sites. Some topophils of this generation, such as Paul Nash with his fascination with the genius loci, made atmospheric prehistoric landscapes a particular focus. Others, like painter Graham Sutherland, were attracted towards scarred nature and geological vistas. In the Four Quartets T. S. Eliot looked for redemption and history in an English village: ‘History is now and England’.

The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.

Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.

In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.