Art History
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This article examines a recent exhibition surveying the history of Capitalist Realism in West Germany during the 1960s. The essay considers the recent resurgence of interest in German Pop, and questions under what conditions Capitalist... more
This article examines a recent exhibition surveying the history of Capitalist Realism in West Germany during the 1960s. The essay considers the recent resurgence of interest in German Pop, and questions under what conditions Capitalist Realism might be viable as a critical concept.
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Conference - Object Emotions: Polemics
15th - 16th April, University of Cambridge
15th - 16th April, University of Cambridge
Research Interests: History, Cultural History, Cultural Studies, Emotion, Area Studies, and 14 moreEnglish Literature, Art History, Social Sciences, Architecture, Art Theory, Literature, Material Culture Studies, Visual Culture, History Of Emotions, Thing Theory, Object Relations, Affect/Emotion, Affect (Cultural Theory), and New Materialism
Walk into the historical museums of Lima and Buenos Aires today, and some of the first paintings you encounter are viceroy portraits. Commissioned and painted primarily during the eighteenth century, these imposing and innovative works of... more
Walk into the historical museums of Lima and Buenos Aires today, and some of the first paintings you encounter are viceroy portraits. Commissioned and painted primarily during the eighteenth century, these imposing and innovative works of art launched the genre of political portraiture in South America. Often contrasted as socio-political opposites, Lima and Buenos Aires embraced similar artistic practices, social traditions, and innovative political tactics between 1750 and 1824. The viceroy portrait series were not only embedded in the Spanish colonial governance of the sub-continent, they were commissioned by the urban municipal councils as tools to be activated in local power negotiations.
Official portraiture was an integral component of the late-colonial remapping of political and cultural boundaries. Visual and textual evidence, including parallel portrait traditions, public ritual and discourse, personal correspondence, and government records, provide the basis for contextualizing the viceregal portrait sub-genre within a cultural history of late-colonial South American portraiture. This study demonstrates that the viceroys, local elites, and their visually receptive subjects exploited portrait paintings and their display to construct municipal identities and to negotiate intra-continental political relationships.
Portraiture became increasingly relevant in the dynamic social context of late eighteenth-century Lima and Buenos Aires. Municipal elites collaborated with artists in adjusting pictorial convention to make portraiture the primary cultural medium for self-identification. Cultural discourse in both cities focused on authority, a tangible and localized form of power, as an essential component of official identities. Political authority was conceptually debated and overtly contested in portrait paintings.
As the viceregal portraits reveal, the viceroys, city councils, and their subjects carved out spheres of distinct but overlapping influence in an environment where boundaries were porous and negotiable. This comparative analysis of visual culture in the Viceroyalties of Peru and Rio de la Plata contributes to a broader socio-cultural understanding of the impact of art on imperial dynamics, asymmetrical power relations, and modes of constructing identity. Ultimately, the performance of power in official portrait collections became the foundation for the visual culture of nationhood in both Peru and Argentina.
Official portraiture was an integral component of the late-colonial remapping of political and cultural boundaries. Visual and textual evidence, including parallel portrait traditions, public ritual and discourse, personal correspondence, and government records, provide the basis for contextualizing the viceregal portrait sub-genre within a cultural history of late-colonial South American portraiture. This study demonstrates that the viceroys, local elites, and their visually receptive subjects exploited portrait paintings and their display to construct municipal identities and to negotiate intra-continental political relationships.
Portraiture became increasingly relevant in the dynamic social context of late eighteenth-century Lima and Buenos Aires. Municipal elites collaborated with artists in adjusting pictorial convention to make portraiture the primary cultural medium for self-identification. Cultural discourse in both cities focused on authority, a tangible and localized form of power, as an essential component of official identities. Political authority was conceptually debated and overtly contested in portrait paintings.
As the viceregal portraits reveal, the viceroys, city councils, and their subjects carved out spheres of distinct but overlapping influence in an environment where boundaries were porous and negotiable. This comparative analysis of visual culture in the Viceroyalties of Peru and Rio de la Plata contributes to a broader socio-cultural understanding of the impact of art on imperial dynamics, asymmetrical power relations, and modes of constructing identity. Ultimately, the performance of power in official portrait collections became the foundation for the visual culture of nationhood in both Peru and Argentina.
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Ossetians, living in the pivotal Caucasian region, are an ancient Indo-European nation of Iranian origin, direct descendants of Scythian tribes of Sarmatians and Alans. Ossetians identify themselves with Alans, unlike, say, Italians with... more
Ossetians, living in the pivotal Caucasian region, are an ancient Indo-European nation of Iranian origin, direct descendants of Scythian tribes of Sarmatians and Alans. Ossetians identify themselves with Alans, unlike, say, Italians with Ancient Romans: their autonym is Alani, their country and football team are both called Alania. Alan-Sarmatian history includes such highlights as re-sistance to Gothic invasion in the 1st/2nd centuries C.E. and a strong state be-tween Danube and Volga. Common ethnicity and past links them to Hungarian Jász.
Historical turmoil led many Alans into the Mongolian steppe and to Yuan China (1280—1368) where they were prominent at court as the Emperor Guard, Asuud (Asūd is plural of As, Arabic exonym for Alans; Chinese 阿蘭聊, A-lan-liao.) First mention of Far Eastern Alans comes from Christian mission-aries and travelers. In 1245, a Franciscan Piano Carpini mentioned some Alans who still resisted the Mongol invasion. Then in 1253—1255 William of Rubruck reported seeing many Europeans in Asia, of which 30,000 Alans formed the Asud. Later Marco Polo praised the Asud’s military qualities dur-ing a siege (and described the expedition’s strange end when most warriors were killed sleeping); concurrently, John of Montecorvino converted many Alans to Catholicism. Later, the Asud joined a Mongol tribe of the same name. The role of Alans as intercultural envoys is especially clear with Giovanni Marignoli’s embassy of 1336, when a letter was sent to the West from Great Khan, inviting Catholic mission to his court.
The paper follows the route of Alans from Caucasus to Mongol territories, and their role in the interconfessional and intercultural relations of East and West during the Yuan era.
Historical turmoil led many Alans into the Mongolian steppe and to Yuan China (1280—1368) where they were prominent at court as the Emperor Guard, Asuud (Asūd is plural of As, Arabic exonym for Alans; Chinese 阿蘭聊, A-lan-liao.) First mention of Far Eastern Alans comes from Christian mission-aries and travelers. In 1245, a Franciscan Piano Carpini mentioned some Alans who still resisted the Mongol invasion. Then in 1253—1255 William of Rubruck reported seeing many Europeans in Asia, of which 30,000 Alans formed the Asud. Later Marco Polo praised the Asud’s military qualities dur-ing a siege (and described the expedition’s strange end when most warriors were killed sleeping); concurrently, John of Montecorvino converted many Alans to Catholicism. Later, the Asud joined a Mongol tribe of the same name. The role of Alans as intercultural envoys is especially clear with Giovanni Marignoli’s embassy of 1336, when a letter was sent to the West from Great Khan, inviting Catholic mission to his court.
The paper follows the route of Alans from Caucasus to Mongol territories, and their role in the interconfessional and intercultural relations of East and West during the Yuan era.
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Appel à contribution au colloque sur les modèles à l'époque gothique, Genève, novembre 2016
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David LaChapelle - “After the Deluge” Il fenomeno LaChapelle a Roma Anna Laura Millacci 25 maggio 2015 Mostre Quella che LaChapelle chiama la sua “Svolta” stona e suona come un voler “arrampicarsi sugli specchi”, nello sforzo di voler... more
David LaChapelle - “After the Deluge”
Il fenomeno LaChapelle a Roma
Anna Laura Millacci 25 maggio 2015 Mostre
Quella che LaChapelle chiama la sua “Svolta” stona e suona come un voler “arrampicarsi sugli specchi”, nello sforzo di voler affrontare tematiche più contemporanee che non convince.
Anche se devo ammettere una non accuratissima conoscenza di questo artista, dato che il suo stile post-Pop e iper surrealista non mi ha mai convinta troppo, ho voluto capire meglio cosa ci fosse dietro a questo “fenomeno” di successo planetario. Ho visitato la mostra “David LaChapelle, After the Deluge” – a Palazzo delle Esposizioni a Roma fino al 29 settembre 2015 – comprato i suoi libri e cercato di farmi un’idea più chiara dell’incensato “genio” LaChapelle.
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movement in architecture
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By the 5th millennium BCE, armlets of copper plus added lead, were cast at Mehergarh by lost-wax process. (Davey. CJ, 2009, The early history of lost wax casting. Metallurgy and Civilisation, J. Mei and Th. Rehren eds. Archetype,... more
By the 5th millennium BCE, armlets of copper plus added lead, were cast at Mehergarh by lost-wax process.
(Davey. CJ, 2009, The early history of lost wax casting. Metallurgy and Civilisation, J. Mei and Th. Rehren eds. Archetype, London, 147-154).
At the end of 5th millennium BCE, Shahi Tump evidences lost-wax casting.
(Mille, B., Bessenval, R. and Bourgarit, D. Early ‘lost-wax casting’ in Balochistan (Pakistan): the “Leopards Weight “ from Shahi-Tump. Persiens antike Pracht, Bergbau-Handwerk-Archäologie, T. Stöllner, R. Slotta and A. Vatandoust (eds). Der Anschnitt Beiheft 12: Deutsches Bergbau Museum, Bochum (2004): 274- 280).
It is suggested that a narrative based on archaeo-metallurgical researchers documing lost-wax casting techniques and artifacts from Dong Son (Hanoi) to Nahal Mishmar (Haifa) along the Maritime Tin Route is likely to be a riveting narrative. The narrative will certainly herald the contributions made by artisans of the Bronze Age reinforced by the metalwork catalogues of Indus Script Corpora which have documented the technological splendour.
This splendour will be matched by utsava bera which are taken in processions all over Bharatam, that is India, even today, during days of temple festivities attesting the abiding nature of the awe-inspiring cire perdue bronze or brass castings..
https://www.scribd.com/doc/219986780/Davey-Christopher-J-The-early-history-of-lost-wax-casting-in-J-Mei-and-Th-Rehren-eds-Metallurgy-and-Civilisation-Eurasia-and-Beyond-Archety
See: http://bharatkalyan97.blogspot.in/2014/04/revisiting-cire-perdue-in.html Revisiting cire perdue in archaeological context and Meluhha hieroglyphs.
Akkadian head made by lost-wax cassting method found at Nineveh 2300-2159 BCE (from Iraq 3 pl.6 British School of Archaeology in Iraq)
Mohenodaro seal. Pict-103 Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs.
Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner’s lathe (Skt.)(CDIAL 3295) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)
Hieroglyph: N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛīf. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N.ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880) Rebus: dhokra ‘cire perdue’ casting metalsmith.
Plate II. Chlorite artifacts referred to as 'handbags' f-g (w 24 cm, thks 4.8 cm.); h (w 19.5 cm, h 19.4 cm, thks 4 cm); j (2 28 cm; h 24 cm, thks 3 cm); k (w 18.5, h 18.3, thks 3.2) Jiroft IV. Iconography of chlorite artifacts. http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts
See: http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html
Meluhha hieroglyphs: 1. Dhokra kamar lost-wax metal caster; 2. Dance-step of Mohenjo-daro metal cast
The profession of the specialist working with metals using the specialized technique of cire perdue (lost-wax casting) during the early bronze age was called dhokra kamar.
This professional title, dhokra kamar, is evidenced by Meluhha hieroglyphs on a seal from Mohenjo-daro and on a tablet from Dholavira of Sarasvati Civilization. In ancient Indian texts, such as Manasollasa, Silparatna, Manasara,the cire perdue technique is referred to as madhucchiṣṭa vidhānam. मधु madhu -उच्छिष्टम्,-उत्थभ्,-उत्थितभ् 1 bees'-wax; शस्त्रासवमधूच्छिष्टं मधु लाक्षा च बर्हिषः Y.3.37; मधूच्छिष्टेन केचिच्च जध्नुरन्योन्यमुत्कटाः Rām.5.62.11.-2 the casting of an image in wax; Mānasāra; the name of 68th chapter. This technique was clearly attested in the Epic Rāmāyaṇa. मधुशिष्ट madhuśiṣṭa 'wax' (Monier-Williams, p. 780).
(Davey. CJ, 2009, The early history of lost wax casting. Metallurgy and Civilisation, J. Mei and Th. Rehren eds. Archetype, London, 147-154).
At the end of 5th millennium BCE, Shahi Tump evidences lost-wax casting.
(Mille, B., Bessenval, R. and Bourgarit, D. Early ‘lost-wax casting’ in Balochistan (Pakistan): the “Leopards Weight “ from Shahi-Tump. Persiens antike Pracht, Bergbau-Handwerk-Archäologie, T. Stöllner, R. Slotta and A. Vatandoust (eds). Der Anschnitt Beiheft 12: Deutsches Bergbau Museum, Bochum (2004): 274- 280).
It is suggested that a narrative based on archaeo-metallurgical researchers documing lost-wax casting techniques and artifacts from Dong Son (Hanoi) to Nahal Mishmar (Haifa) along the Maritime Tin Route is likely to be a riveting narrative. The narrative will certainly herald the contributions made by artisans of the Bronze Age reinforced by the metalwork catalogues of Indus Script Corpora which have documented the technological splendour.
This splendour will be matched by utsava bera which are taken in processions all over Bharatam, that is India, even today, during days of temple festivities attesting the abiding nature of the awe-inspiring cire perdue bronze or brass castings..
https://www.scribd.com/doc/219986780/Davey-Christopher-J-The-early-history-of-lost-wax-casting-in-J-Mei-and-Th-Rehren-eds-Metallurgy-and-Civilisation-Eurasia-and-Beyond-Archety
See: http://bharatkalyan97.blogspot.in/2014/04/revisiting-cire-perdue-in.html Revisiting cire perdue in archaeological context and Meluhha hieroglyphs.
Akkadian head made by lost-wax cassting method found at Nineveh 2300-2159 BCE (from Iraq 3 pl.6 British School of Archaeology in Iraq)
Mohenodaro seal. Pict-103 Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs.
Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) Rebus: kunda ‘turner’ kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner’s lathe (Skt.)(CDIAL 3295) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)
Hieroglyph: N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛīf. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N.ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880) Rebus: dhokra ‘cire perdue’ casting metalsmith.
Plate II. Chlorite artifacts referred to as 'handbags' f-g (w 24 cm, thks 4.8 cm.); h (w 19.5 cm, h 19.4 cm, thks 4 cm); j (2 28 cm; h 24 cm, thks 3 cm); k (w 18.5, h 18.3, thks 3.2) Jiroft IV. Iconography of chlorite artifacts. http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts
See: http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html
Meluhha hieroglyphs: 1. Dhokra kamar lost-wax metal caster; 2. Dance-step of Mohenjo-daro metal cast
The profession of the specialist working with metals using the specialized technique of cire perdue (lost-wax casting) during the early bronze age was called dhokra kamar.
This professional title, dhokra kamar, is evidenced by Meluhha hieroglyphs on a seal from Mohenjo-daro and on a tablet from Dholavira of Sarasvati Civilization. In ancient Indian texts, such as Manasollasa, Silparatna, Manasara,the cire perdue technique is referred to as madhucchiṣṭa vidhānam. मधु madhu -उच्छिष्टम्,-उत्थभ्,-उत्थितभ् 1 bees'-wax; शस्त्रासवमधूच्छिष्टं मधु लाक्षा च बर्हिषः Y.3.37; मधूच्छिष्टेन केचिच्च जध्नुरन्योन्यमुत्कटाः Rām.5.62.11.-2 the casting of an image in wax; Mānasāra; the name of 68th chapter. This technique was clearly attested in the Epic Rāmāyaṇa. मधुशिष्ट madhuśiṣṭa 'wax' (Monier-Williams, p. 780).
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Der Name Melchisedech hat bisher kaum Eingang in die Geschichtsforschung gefunden: Dieser Priesterkönig aus der Bibel wird vielmehr bis heute fast ausschließlich von Theologen als Schwerpunkt wissenschaftlicher Arbeiten behandelt. Die... more
Der Name Melchisedech hat bisher kaum Eingang in die Geschichtsforschung gefunden: Dieser Priesterkönig aus der Bibel wird vielmehr bis heute fast ausschließlich von Theologen als Schwerpunkt wissenschaftlicher Arbeiten behandelt. Die wenigen geschichtswissenschaftlichen Arbeiten über diese Person beschränken sich je auf eine oder drei bestimmte Quellen, sodass ein Überblick über die Figur im Mittelalter, insbesondere im politischen Leben und nicht nur im theologischen Bereich, unmöglich ist. Die vorliegende Masterarbeit hat zum Ziel, diese Lücke in der Geschichtsforschung auszufüllen, die eine unverzichtbare Voraussetzung für den Aufbau einer genaueren und besser problematisierten Fragestellung darstellt.
Research Interests: Cultural Studies, Anthropology, Visual Studies, Iconography, Legitimacy and Authority, and 16 moreArt History, Medieval History, History of Religion, Medieval Studies, Biblical Studies, Manuscript Studies, Papacy (Medieval Church History), Medieval Art, Melchizedek Traditions, Holy Roman Empire, Medieval Art History, Abraham, Prester John, Anthropologie historique, History of Reception of Biblical Texts, and Melchizedek
CFA: ‘Gender in Victorian Popular Fiction, Art, and Culture,’ Nineteenth-Century Gender Studies Nineteenth-Century Gender Studies is a peer-reviewed, online journal committed to publishing insightful and innovative scholarship on gender... more
CFA: ‘Gender in Victorian Popular Fiction, Art, and Culture,’ Nineteenth-Century Gender Studies
Nineteenth-Century Gender Studies is a peer-reviewed, online journal committed to publishing insightful and innovative scholarship on gender studies and nineteenth-century British literature, art and culture.
This special issue invites articles on all aspects of the relationship between gender and the “popular”. Popular fiction in the nineteenth century was repeatedly, and often negatively, associated with women and femininity, perceived as a mass of “silly novels by lady novelists” (George Eliot). Existing scholarship (by critics such as Solveig R. Robinson and Jennifer Phegley) has already done much to challenge the old Victorian notion that popular fiction was second-rate literature produced by a second-class gender. We seek papers that will reassess or reinvigorate the relationship between popular fiction and the feminine, but also work that goes beyond this in order to interrogate the interactions between gender and popular genres more broadly. Thus, we encourage engagement with masculinity studies and queer theory, as well as other popular genres, such as magazines, newspapers and other periodical publications, the penny bloods, gothic fictions, detective fiction, fads and fashions, and theatrical engagements. We also welcome submissions that consider gender and sexuality in conjunction with race, class, place and nationality.
Suggested topics include, but are not limited to:
• Explorations of the interactions between gender and the popular, and of how nineteenth-century writers constructed and negotiated these relationships.
• How popular genres and media reinforce or dispel conventional gender roles.
• How writers use popular fiction and the popular press to imbue literary and biographical accounts of lived female experience with value and validity.
• How and why male or female writers foster or deny an affiliation with the popular.
• How women moved beyond being ‘consigned’ to popular fiction as a lesser genre, and used popular fiction to create positions of strength and opportunity.
• How gender issues were depicted in a range of “popular” genres, such as sensation fiction, melodrama, penny bloods, detective fiction, short stories and gothic narratives.
• How gender issues were depicted in a range of “popular” media, such as periodicals/magazines/newspapers, art, illustrations, fads and fashions, and the theatre.
• How the representation of gender is affected by the choice of medium (e.g. stage adaptations of novels)
• How gender studies as a discipline has contributed to the rediscovery of lost/forgotten Victorian popular fiction writers, and how this has aided our understanding of gender issues in the nineteenth century.
We welcome articles of 5,000-8,000 words, in MLA format. Please use US spelling and citations, and endnotes rather than footnotes.
For book reviews of 800-1,000 words in length please send a short biography and full details of the book you would like to review as soon as possible to NCGS’s Reviews Editor, Carolyn Oulton: carolyn.oulton@canterbury.ac.uk
Further information, including Submission Guidelines, is available at the journal site: http://www.ncgsjournal.com/
Please e-mail submissions to j.hatter@hull.ac.uk and helena.ifill@sheffield.ac.uk by 30th April, 2016. Any queries or letters of interest are welcome and should be sent to both e-mail addresses. Earlier submissions are encouraged.
Nineteenth-Century Gender Studies is a peer-reviewed, online journal committed to publishing insightful and innovative scholarship on gender studies and nineteenth-century British literature, art and culture.
This special issue invites articles on all aspects of the relationship between gender and the “popular”. Popular fiction in the nineteenth century was repeatedly, and often negatively, associated with women and femininity, perceived as a mass of “silly novels by lady novelists” (George Eliot). Existing scholarship (by critics such as Solveig R. Robinson and Jennifer Phegley) has already done much to challenge the old Victorian notion that popular fiction was second-rate literature produced by a second-class gender. We seek papers that will reassess or reinvigorate the relationship between popular fiction and the feminine, but also work that goes beyond this in order to interrogate the interactions between gender and popular genres more broadly. Thus, we encourage engagement with masculinity studies and queer theory, as well as other popular genres, such as magazines, newspapers and other periodical publications, the penny bloods, gothic fictions, detective fiction, fads and fashions, and theatrical engagements. We also welcome submissions that consider gender and sexuality in conjunction with race, class, place and nationality.
Suggested topics include, but are not limited to:
• Explorations of the interactions between gender and the popular, and of how nineteenth-century writers constructed and negotiated these relationships.
• How popular genres and media reinforce or dispel conventional gender roles.
• How writers use popular fiction and the popular press to imbue literary and biographical accounts of lived female experience with value and validity.
• How and why male or female writers foster or deny an affiliation with the popular.
• How women moved beyond being ‘consigned’ to popular fiction as a lesser genre, and used popular fiction to create positions of strength and opportunity.
• How gender issues were depicted in a range of “popular” genres, such as sensation fiction, melodrama, penny bloods, detective fiction, short stories and gothic narratives.
• How gender issues were depicted in a range of “popular” media, such as periodicals/magazines/newspapers, art, illustrations, fads and fashions, and the theatre.
• How the representation of gender is affected by the choice of medium (e.g. stage adaptations of novels)
• How gender studies as a discipline has contributed to the rediscovery of lost/forgotten Victorian popular fiction writers, and how this has aided our understanding of gender issues in the nineteenth century.
We welcome articles of 5,000-8,000 words, in MLA format. Please use US spelling and citations, and endnotes rather than footnotes.
For book reviews of 800-1,000 words in length please send a short biography and full details of the book you would like to review as soon as possible to NCGS’s Reviews Editor, Carolyn Oulton: carolyn.oulton@canterbury.ac.uk
Further information, including Submission Guidelines, is available at the journal site: http://www.ncgsjournal.com/
Please e-mail submissions to j.hatter@hull.ac.uk and helena.ifill@sheffield.ac.uk by 30th April, 2016. Any queries or letters of interest are welcome and should be sent to both e-mail addresses. Earlier submissions are encouraged.
Research Interests: Cultural Studies, Gender Studies, English Literature, Art History, Victorian Studies, and 14 moreNineteenth Century Studies, Popular Culture, Identity (Culture), Race and Ethnicity, English, Gender, Culture, Victorian Literature, Nineteenth-century Art, Nineteenth Century British History and Culture, Victorian cultural studies, Popular Literature, Nineteenth-Century Literature and Culture, and Nationality
An artwork has the power to cultivate ideas, to evoke feelings and to relive memories. Such definition of an artwork is clearly observable in the work of Francis Alys that is commissioned by 14th Istanbul Biennial in 2015. This work will... more
An artwork has the power to cultivate ideas, to evoke feelings and to relive memories. Such definition of an artwork is clearly observable in the work of Francis Alys that is commissioned by 14th Istanbul Biennial in 2015. This work will deal specifically with the artwork of ‘The Silence of Ani’. The following paper arises some cultural questions about the relationship between an artwork and perceivers. By focusing on the role of ‘gaze’ and ‘ways of seeing’ over artistic appreciation including several mediators, this paper seeks to put a framework about how different senses work together in representation of a story. Since the artwork questions the social roots of devastation of Ani and the similar dimension on reconstruction of this forgotten city, this paper is also underlining the sociological ground on which divergent ways of appreciation are flourished.
Research Interests: Sociology, Communication, Visual Studies, Art History, Visual Anthropology, and 15 moreArt, Armenian Studies, Visual Culture, Image Analysis, Turkey, Visual Communication, Armenian Culture, Urban Sociology, Cinema and the City, Minorities in Turkey, Visual Arts, John Berger, Ways of Seeing, Visibility/invisibility, and Art Appreciation
Research Interests:
During the Sixteenth century and the first half of the following one, Sicily played a key role in the strategy of defense of the Spanish Empire from the looming Turkish threat, being an island considered as a baluarte against the Turks.... more
During the Sixteenth century and the first half of the following one, Sicily played a key role in the strategy of defense of the Spanish Empire from the looming Turkish threat, being an island considered as a baluarte against the Turks. Yet despite this absolute centrality in the military policy of the Spanish monarchy, till now historical research has preferred to provide broader spectrum interpretations at the expense of in-depth studies on individual technicians or overall pictures about the figure of the military engineer. We will present a synoptic view attesting the time period of activity covered by each military technician working for the kingdom of Sicily, within a wider study concerning the origin of this professional figure, the diversification of technicians working on fortifications, the progressive changes in the organizational chart and the enrichment of competences for military engineers much beyond l’arte del fortificare.