Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art argues for the relevance of Mikhail Bakhtin's theories of dialogism as a means of examining the interdisciplinary nature of contemporary moving image art forms. The volume comprises six chapters divided into two sections. The first section, Part I, illustrates the key concepts in Bakhtin's multifaceted dialogism and develops these ideas in relation to moving image art. The main focus of this first part is the proposal of what the author terms dialogic materialism, which builds upon the Marxism inherent in Bakhtin, examining the material processes of cultural exchange with a particular emphasis on multi-perspective subjective relations. Part II consists of case studies that apply dialogic materialism to the moving image artwork of three artists: Stan Douglas, Jamelie Hassan and Chris Marker. Applying Bakhtinian theory to the field of the visual arts provides a means of examining the fundamentally dialogic nature of moving image art making and viewing, a perspective that is not fully developed within the existing literature.

Northern Ireland is now generally regarded to be a post-conflict region since the official end to three decades of violence in 1998. However, given some of the stipulations of the Good Friday Belfast Agreement, including the early release of politically motivated prisoners from jail, society in Northern Ireland remains in a state of flux, uncertainty and disagreement. This book presents four thematic studies revolving around the issues of imprisonment, surveillance, traumatic recall and myth-making in Northern Ireland. These studies examine the different ways in which artists and filmmakers are experimenting with film aesthetics and new media technologies to represent, re-present and invite engagement with the underlying anxieties that continue to trouble post-Agreement society. In doing so, the author argues for a reassessment of the critical analysis of film's convergence with other forms of visual art. Ultimately, the volume assesses the usefulness of such an approach in examining how artists and filmmakers experiment with diverse forms that open up space for discussion of the hidden and marginalized concerns in Northern Ireland's new, 'shared' society. This book was the winner of the 2012 Peter Lang Young Scholars Competition in Film Studies.

Painting Labour in Scotland and Europe, 1850-1900 explores hitherto unrecognised European variations in the phenomena of rural labour imagery, particularly in Scotland. In exploring these distinctions relative to Scotland and Europe it looks to develop a new understanding of the commonalities and idiosyncrasies of rural labour imagery which have often been treated as homogenous. Lacking the detailed analysis that has been accorded other images, writing about Scottish painting has often been appended to analyses of English or French imagery. It has generally been understood as intellectually divorced from the sometimes brutal realities of evolving Scottish nineteenth century urbanism, or simply ignored. Painting Labour in Scotland and Europe, 1850-1900 sets out systematically to discuss the Scottish rural painting in relation to its particular Scottish historical context, both sociological and aesthetic and its English and European counterparts. Alongside canonical Scottish images by major figures such as James Guthrie, the book explores many hitherto under researched and unconsidered paintings by nineteenth century Scottish artists, and considers them in relation to major English and Continental Realist and Romantic painters. The juxtaposition of J.F. Millet with W.D. McKay, and Edwin Landseer with George Reid makes for a volume that will appeal both to an academic audience and to one interested in European art history more generally.

Translation of fiction is always interpretation. This book discusses the challenges facing translators of fictional works from German into English using as examples English translations of canonical German novellas by Johann Wolfgang von Goethe, Theodor Storm, Gerhart Hauptmann, Thomas Mann and Franz Kafka. The author addresses the difficulties of translating in the poststructuralist era, when every fictional work potentially has a large number of interpretations and, therefore, at least the same number of possible translations. Considering interpretations of the original text in detail not only improves the reader's understanding and ability to criticize the translated text, but it will also provide valuable insight into the possible intentions of the writer. An initial linguistic observation of a target text can therefore lead to a fruitful connection between the linguistic and literary analysis of translated works. This book offers new perspectives on the delicate negotiation of translating source texts for a contemporary audience while maintaining the values, ideas and hidden meanings from the source in relation to its original epoque.

The Amistad incident, one of the few successful ship revolts in the history of enslavement, has been discussed by historians for decades, even becoming the subject of a Steven Spielberg film in 1997, which brought the story to wide audiences. But, while historians have examined the Amistad case for its role in the long history of the Atlantic, the United States and slavery, there is an oil on canvas painting of one man, Cinque, at the center of this story, an image so crucial to the continual retelling and memorialization of the Amistad story, it is difficult to think about the Amistad and not think of this image. Visual and material culture about the Amistad in the form of paintings, prints, monuments, memorials, museum exhibits, quilts and banners, began production in the late summer of 1839 and has not yet ceased. Art of the Amistad and The Portrait of Cinque is the first book to survey in total these Amistad inspired images and related objects, and to find in them shared ideals and cultural creations, but also divergent applications of the story based on intended audience and local context. Tracing the revolutionary creation of what art historian Stephen Eisenman calls "a highly individualized, noble portrait of an African man," Art of the Amistad and The Portrait of Cinque is built around visual and material culture, and thus does not use images merely as illustration, but tells its story through the wide range of images and materials presented. While the Portrait of Cinque seems to sit quietly behind Plexiglass at a local history museum, the impact of this 175-year old painting is palpable; very few portraits from the 19th century-let alone a portrait of a black man-remain a relevant part of culture as the Portrait of Cinque continues to be today. Art of the Amistad the Portrait of Cinque is about the art and artifacts that continue to inform and inspire our understanding of transatlantic history-a journey 175 years in the making.

Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.

In Alois Riegl in Vienna 1875-1905 - An Institutional Biography, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl's published texts, several of which are still unavailable in English. Further, the author compares Riegl's work to several of the early works of Friedrich Nietzsche that Riegl is known to have read before 1878. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl's oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian's work of the fin-de-siecle that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century, an epoch of innovation, culture wars and political uncertainty.The book is particularly devoted to explaining how Riegl's theories of art were shaped by debates outside the purview of the academic art historian. Its focal point is the Austrian Museum for Art and Industry, where he worked for 13 years, and it presents a new interpretation of Riegl based upon his early exposure to Nietzsche.

Dublin has held an important place throughout Ireland's cultural history. The shifting configurations of the city's streetscapes have been marked by the ideological frameworks of imperialism, its architecture embedded within the cultural politics of the nation, and its monuments and sculptures mobilized to envision the economic ambitions of the state. This book examines the relationship of Dublin to Ireland's social history through the city's visual culture. Through specific case studies of Dublin's streetscapes, architecture and sculpture and its depiction in literature, photography and cinema, the contributors discuss the significance of visual experiences and representations of the city to our understanding of Irish cultural life, both past and present. Drawing together scholars from across the arts, humanities and social sciences, the collection addresses two emerging themes in Irish studies: the intersection of the city with cultural politics, and the role of the visual in projecting Irish cultural identity. The essays not only ask new questions of existing cultural histories but also identify previously unexplored visual representations of the city. The book's interdisciplinary approach seeks to broaden established understandings of visual culture within Irish studies to incorporate not only visual artefacts, but also textual descriptions and ocular experiences that contribute to how we come to look at, see and experience both Dublin and Ireland.

This study explores the phenomenon of the cults of Raphael and Michelangelo in relation to their death, burial, and posthumous fame-or second life-from their own times through the nineteenth century. These two artists inspired fervent followings like no other artists before them. The affective response of those touched by the potency of the physical presence of their art- works, personal effects, and remains-or even touched by the power of their creative legacy-opened up new avenues for artistic fame, divination, and commemoration. Within this cultural framework, this study charts the elevation of the status of dozens of other artists in Italy through funerals and tomb memorialization, many of which were held and made in response to those of Raphael and Michelangelo. By bringing together disparate sources and engaging material as well as a variety of types of artworks and objects, this book will be of great interest to anyone who studies early modern Italy, art history, cultural history, and Italian studies.

This collection offers new perspectives on the connections between politics, identity and representation in art and poetry in nineteenth- and early twentieth-century Britain and Europe. Contributions explore questions such as the following: what was the effect of the reciprocity of political, religious and artistic influence in nineteenth-century Britain and Europe? How were key political moments or movements influenced by or influential on literary and artistic form? How did the styles and forms of the past shape the political expressions of the nineteenth-century present? By what means did politically inflected art and literature shape the emerging construction of national, class or religious identities in the nineteenth century? Ranging across not only Britain but also France, Germany, Belgium, Finland, Spain and Italy, the essays draw on different discourses and art forms. They all utilise concepts of cultural materialism to shape an understanding of the contingent relationships between national and international public discourse and identity, political change and cultural production as well as the reproduction, translation, influence and dissemination of both politics and culture in art and literature.

Over the course of the nineteenth century, women in Britain participated in diverse and prolific forms of artistic labour. As they created objects and commodities that blurred the boundaries between domestic and fine art production, they crafted subjectivities for themselves as creative workers. By bringing together work by scholars of literature, painting, music, craft and the plastic arts, this collection argues that the constructed and contested nature of the female artistic professional was a notable aspect of debates about aesthetic value and the impact of industrial technologies. All the essays in this volume set up a productive inter-art dialogue that complicates conventional binary divisions such as amateur and professional, public and private, artistry and industry in order to provide a more nuanced understanding of the relationship between gender, artistic labour and creativity in the period. Ultimately, how women faced the pragmatics of their own creative labour as they pursued vocations, trades and professions in the literary marketplace and related art-industries reveals the different ideological positions surrounding the transition of women from industrious amateurism to professional artistry.

This book focuses on Sir Edward Burne-Jones' mythical paintings from 1868 to 1886. His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. This book analyzes two main concepts: Burne-Jones' assimilation of Neoplatonic ideal beauty as depicted in his solo and narrative paintings, and Burne-Jones' fusion of the classical and emblematic traditions in his imagery.

Each chapter of this stimulating book collects a wide variety of images show the different ways that historical events can be represented. Metal and wood engravings, lithographs, woodcuts, etchings, watercolors, and drawings all reflect changing attitudes towards gender, politics, the family, education, and industrialization. This revised second edition has many new illustrations which further assist the interpretation of popular graphic images from the 18th and 19th centuries. -- .

Painted screens have long been synonymous in the popular imagination with the Baltimore row house. Picturesque, practical, and quirky, window and door screens adorned with scenic views simultaneously offer privacy and ventilation in crowded neighborhoods. As an urban folk art, painted screens flourished in Baltimore, though they did not originate there--precursors date to early eighteenth-century London. They were a fixture on fine homes and businesses in Europe and America throughout the Victorian era. But as the handmade screen yielded to industrial production, the whimsical artifact of the elite classes was suddenly transformed into an item for mass consumption. Historic examples are now a rarity, but in Baltimore the folk art is still very much alive.

"The Painted Screens of Baltimore" takes a first look at this beloved icon of one major American city through the words and images of dozens of self-taught artists who trace their creations to the capable and unlikely brush of one Bohemian immigrant, William Oktavec. In 1913, this corner grocer began a family dynasty inspired generations of artists who continue his craft to this day. The book examines the roots of painted wire cloth, the ethnic communities where painted screens have been at home for a century, and the future of this art form.

In a moving intervention into Romantic-era depictions of the dead and wounded, Philip Shaw's timely study directs our gaze to the neglected figure of the common soldier. How suffering and sentiment were portrayed in a variety of visual and verbal media is Shaw's particular concern, as he examines a wide range of print and visual media, from paintings to sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. Whilst classical portraiture and history painting certainly conspired with official ideologies to deflect attention from the true costs of war, other works of art, literary as well as visual, proffered representations that countered the view that suffering on and off the battlefield is noble or heroic. Shaw uncovers a history of changing attitudes towards suffering, from mid-eighteenth century ambivalence to late eighteenth- and early nineteenth-century concepts of moral sentiment. Thus, Shaw's story is one of how images of death and wounding facilitated and queried these shifts in the perception of war, qualifying as well as consolidating ideas of individual and national unanimity. Informed by readings of the letters and journals of serving soldiers, surgeons' notebooks and sketches, and the writings of peace and war agitators, Shaw's study shows how an attention to the depiction of suffering and the development of 'liberal' sentiment enables a reconfiguring of historical and theoretical notions of the body as a site of pain and as a locus of violent national imaginings.

This essay collection exploring the relationship between spirituality and art is the result of a conference that took place in December 2010 at Liverpool Cathedral. During this two-day event, artists, clergy and academics from different disciplines - including theology and art history - came together to discuss the relationship between spirituality and art. One of the objectives of both the conference and this collection was to clarify what is meant by spiritual art or, indeed, what it means to describe an artwork as being spiritual. The essays expand on this issue by addressing the following questions: what is the relationship between spirituality and art in the context of the art gallery, religious institutions and the academy and at personal and social levels? How and why does art convey spirituality and, conversely, why and how is spirituality made manifest in works of art? Many of the contributors examine the spiritual aspects of particular artworks, artists or artistic traditions, and ask what we mean by the spiritual in art. The volume articulates the interdisciplinary nature of the subject and explores pressing concerns of the contemporary age.

This book reframes the formative years of three significant artists: Henri Fantin-Latour, Alphonse Legros, and James McNeill Whistler. The trio's coming together as the Societe des trois occurred during the emergence of the artistic avant-garde-a movement toward individualism and self-expression. Though their oeuvres appear dissimilar, it is imperative that the three artists' early work and letters be viewed in light of the Societe, as it informed many of their decisions in both London and Paris. Each artist actively cultivated a translocal presence, creating artistic networks that transcended national borders. Thus, this book will serve as a comprehensive resource on the development, production, implications, and eventual end of the Societe.

This new study traces the development and evolution of the writings of Roger Fry (1866-1934), a highly influential art critic who introduced modern French painting to Britain in the early twentieth century. Through close analysis of his writings, the author examines the role that emerging psychological theories played in the formulation and expression of Fry's aesthetic theories. She also discusses aspects of physiological psychology, Gestalt theory, psychoanalysis and adaptive psychology, arguing that detailed analyses of aesthetic perception comprise the core of Fry's writings. Though he has rarely been credited with this goal, this volume shows that Fry sought to make art accessible to a wide audience and that highlighting the universal aspects of aesthetic perception was a means to this end. The book offers a chronological study of select essays and lectures, both published and unpublished, written by Roger Fry between the 1890s and his death in 1934. Where relevant his writings are juxtaposed with those of other art critics and theorists to identify factors that shaped his thinking and his use of terminology and to clarify the critical context in which he was working. Since Fry's work as a visual artist ran alongside his critical thinking, some attention is given to his paintings as a method of illustrating his practical experimentation with aesthetic principles, particularly formalist concepts.

Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism. Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.

In the decades after the French Revolution, philosophers, artists, and social scientists set out to chart and build a way to a new world and their speculative blueprints circulated like banknotes in a parallel economy of ideas. Examining representations of ideal societies in nineteenth-century French culture, Daniel Sipe argues that the dream-image of the literary or art-historical utopia does not disappear but rather is profoundly altered by its proximity to the social utopianism of the day. Sipe focuses on this persistent afterlife in utopias ranging from FranAois-Rene de Chateaubriand's Amerindian utopia in Atala (1801) to the utopian spoof of J.J. Grandville's illustrated novel Un autre monde (1844). He proposes a new reading of Etienne Cabet's seminal utopian novel, Voyage en Icarie (1840) and offers an original perspective on the gendered utopias of technological inspiration that authors such as Charles Barbara and Auguste Villiers de l'Isle-Adam penned in the second half of the century. In addition, Sipe considers utopias or important readings of the century's rampant utopianism in, among others, Victor Hugo, Alfred de Vigny, Theophile Gautier, Charles Baudelaire, and Gustave Courbet. His book provides the historical context for comprehending the significance and implications of this enigmatic afterlife in nineteenth-century utopian art and literature.

Examining the wide-ranging implications of Ruskin's engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin's intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin's followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin's work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin's continuing digital presence is striking and makes a case for Ruskin's persistent presence. The collection begins with essays on Ruskin's intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin's followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin's work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group's engagement with Ruskin's thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

The contentious relationship between modernism and totalitarianism is a key element in the architectural history of the twentieth century. Post-war historiography refused to admit any overlap between the high modernism of the 1920s and the architecture of National Socialism, as it contradicted the definition of modernism as the essential architectural expression of liberal democracy. However, National Socialist architectural history cannot be fully explored without the broader historical context of modernity. Similarly, a true understanding of modernism in architecture must acknowledge its authoritarian aspects. This book clarifies the architectural discourse in which the Greater Berlin Project of the Third Reich was produced. The association of monumentality with National Socialist architecture in the 1930s created a polarization between the classical tradition and radical modernism that provoked vigorous and acrimonious debate that lasted into the 1980s. In the attempt to reconcile the paradoxical and competing aspirations for monumentality and historicity on one hand, and for technological advance on the other, the planning of Berlin is shown to reflect the wider paradoxes of National Socialist ideology.

This collection of essays on Francis Bacon (1909-1992) pays tribute to the legacy, influence and power of his art. The volume widens the relevance of Bacon in the twenty-first century and looks at new ways of thinking about or reframing him. The contributors consider the interdisciplinary scope of Bacon's work, which addresses issues in architecture, continental philosophy, critical theory, gender studies and the sociology of the body, among others. Bacon's work is also considered in relation to other artists, philosophers and writers who share similar concerns. The innovation of the volume lies in this move away from both an art historical framework and a focus on the artist's biographical details, in order to concentrate on new perspectives, such as how current scholars in different disciplines consider Bacon, what his relevance is to a contemporary audience, and the wider themes and issues that are raised by his work.

Over the course of the long nineteenth century, Civilisation was the subject of some of the most prominent public mural paintings and sculptures in Europe and the United States, especially those that speculated on the direction of history. It also underpinned Western depictions of non-Western societies and evaluations of social progress and artistic excellence. The essays in this volume explore the ways in which the idea of Civilisation acted as a lens through which Europeans and Americans represented themselves and others, how this concept reshaped understandings of historical and artistic development, and also how it changed and was put to new uses as the century progressed. This collection will prove invaluable to students and academics in both history and art history. -- .

Darwin and Theories of Aesthetics and Cultural History is a significant contribution to the fields of theory, Darwin studies, and cultural history. This collection of eight essays is the first volume to address, from the point of view of art and literary historians, Darwin's intersections with aesthetic theories and cultural histories from the eighteenth century to the present day. Among the philosophers of art influenced by Darwinian evolution and considered in this collection are Alois Riegl, Ruskin, and Aby Warburg. This stimulating collection ranges in content from essays on the influence of eighteenth-century aesthetic theory on Darwin and nineteenth-century debates circulating around beauty to the study of evolutionary models in contemporary art.