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Nina Lübbren

A lion enters a Roman arena. Villagers poke fun at a tourist. A warrior arrives home, unaware that his beloved lies dead. A jilted lover confronts her seducer on the day of his wedding to another woman. Brutus stabs Caesar. A priest scolds a teenager. A queen goes mad. Salome dances. Bonaparte broods ( Plates 1 , 2 , 6 ; Figures 1.4 , 2.4 , 3.5 , 4.2 , 4.3 ). 1 Nineteenth-century narrative

in Narrative painting in nineteenth-century Europe
Author:

This is the first book-length study to intervene in both art-historical and narratological debates with a rigorous scholarly focus on nineteenth-century painting. The years roughly between 1830 and 1890 make up a moment in which European paintings spoke to a broad public in a way that was unprecedented and has probably not been achieved since, and narrative was a key ingredient in its appeal. The book defines narrative paintings as paintings that invite narrative responses. It analyses reviewers' language in detail, drawing on literary theory, and links reviews to close readings of selected paintings. The book draws on reception theory to argue that narrative meaning arises from an interaction between pictures and public. Story-telling critical reviews responded to story-telling paintings and addressed non-specialist audiences' delight in puzzling out a narrative. Paintings' non-perfomative technique, thought to appeal to connoisseurs, served narrative ends. Whereas earlier art had told stories through the body, nineteenth-century pictures shifted the focus onto inanimate objects. Narrativised objects became clues, and viewers reconstructed events from the material traces they had left. Case studies come from across Europe, with an emphasis on England, Scotland, Germany, France, Spain and Italy.

Bulletin of the John Rylands Library
Mark Hovell’s The Chartist Movement
Michael Sanders

Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement (1918). It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. Similarly, Hovell’s plotting is also driven by his reading of Chartism as a conflict between two characters, a flawed hero (Lovett) and a villain (O’Connor). The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation.

Bulletin of the John Rylands Library
Colin Trodd

commentators on Brown’s historical works: L. Rabin, Ford Madox Brown and the Pre-Raphaelite History Picture (New York: Garland Publishing Company, 1978) ; M. Meisel, Realizations : Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England (Princeton, NJ: Princeton University Press, 1983) , pp. 417–31; and M. Meisel, ‘Pictorial Engagements: Byron, Delacroix, Ford Madox Brown’, Studies in Romanticism , 27:4 (Winter 1988), 579–603. 53 C. A. P. Willsdon, Mural Painting in

in Ford Madox Brown
D.G. Paz

This article addresses three topics. It describes Chartisms creation of a ‘peoples history’ as an alternative to middle-class history, whether Whig or Tory. It locates the sources, most of which have not been noticed before, for the Chartist narrative of the English Reformation. William Cobbetts reinterpretation of the English Reformation is well known as a source for the working-class narrative; William Howitts much less familiar but more important source, antedating Cobbetts History of the Protestant Reformation in England, is used for the first time. The article reconstructs that narrative using printed and manuscript lectures and published interpretations dating from the first discussions of the Peoples Charter in 1836 to the last Chartist Convention in 1858. The manuscript lectures of Thomas Cooper are an essential but little-used source. The article contributes to historical understanding of the intellectual life of the English working class.

Bulletin of the John Rylands Library
Susan Nash

This article explores the process of female self-fashioning in two previously neglected petitions dated 1786-87 by using signatures to analyse their texts and construct their contexts. In them, Helen Timberlake revises the account of frontier and Cherokee life her husband, Henry Timberlake, had published in his Memoirs (1765). Her intense maternal voice, focused on loss, entangles her history with that of the Cherokee chief Ostenaco, providing a grounded but often untrue narrative of shared family life and a persona tailored to evoke a history intertwined with that of George III. This article explores the mystery of Helen Timberlakes origins, while connecting the rhetoric of her petitions to the gendered emergence of sentimentalism, narratives of Indian captivity, and the historiography of ‘the Atlantic’.

Bulletin of the John Rylands Library
Andrew James Johnston

This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.

Bulletin of the John Rylands Library
Victoria Joule

In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.

Bulletin of the John Rylands Library
Mark Hovell and Histories of Chartism
Malcolm Chase

This article provides the first detailed account of Mark Hovell’s The Chartist Movement, focusing on the overall achievement of the work as published in 1918, contemporary reactions to the circumstances of its production, and the ways in which Hovell’s research cemented twentieth-century dominant narratives around the rise and fall of Chartism. The article also offers a counterfactual evaluation of Hovell’s manuscript, focusing on the probable direction of his vision of Chartism, and suggesting how the work completed by Hovell (had he lived) might have looked compared with the version eventually produced by Tout.

Bulletin of the John Rylands Library