DOCSLIB.ORG

Durham E-Theses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Durham E-Theses Durham E-Theses The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897 Tildesley, Matthew Brinton How to cite: Tildesley, Matthew Brinton (2007) The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2449/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Century Guild Hobby Horse and Oscar Wilde: A Study of British Little Magazines, 1884-1897. Matthew Brinton Tildesley. The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. A thesis submitted for the degree of PhD to the Department of English Studies Durham University 2007 . ... 2 APR 2008 2 Abstract. This thesis is a detailed examination of subversive aesthetic and decadent British periodicals from 1884 untill897. Viewed as cultural documents, the magazines The Century Guild Hobby Horse, The Dial, The Yellow Book and The Savoy are explored with particular reference to their positioning of the artist in relation to society. Major secondary sources are the works of Oscar Wilde and Walter Pater's The Renaissance: Studies in Art and Poetry. The Hobby Horse is viewed as being the origin of a particular discourse on the importance of the artist for society at large, and its editorial bias is examined as being a product of certain Hellenic elements in Oxford of the 1860s and 1870s. Wilde's The Picture ofDorian Gray features heavily in the first section. The book is initially used as a touchstone for exploring the issues of the Socratic master-pupil relationships, clandestine and subversive sexuality, the duality of subversive literary texts, and the transition from aestheticism into decadence, after which Wilde's only novel is shown to have been inspired in part by specific writings within the Hobby Horse itself. The second section examines the importance of Catholicism to a renaissance of the Hellenic within artistic communities of the 1880s and '90s, and the third and final section explores the legacy of these elements of the Hobby Horse in the later magazine~ The Dial, The Yellow Book and The Savoy. Specific attention is paid to the perceived relationship between Oscar Wilde and the Yellow Book in the final chapters, where the erroneous nature of the supposed links between Wilde and the Yellow Book is exposed, and Wilde's true connection with the little-known Century Guild Hobby Horse is revealed. 3 Contents. Abstract. ......................................................................................................................................... 2 Contents .......................................................................................................................................... 3 List of Illustrations ......................................................................................................................... 4 Acknowledgements ........................................................................................................................ 5 Citations and Abbreviations ........................................................................................................... 7 Introduction .................................................................................................................................... 8 1. The Sketches of Dorian Gray: Oscar Wilde and The Century Guild Hobby Horse, from Aestheticism to Decadence ...................................................................................... 14 1.1 Selwyn Image and Oscar Wilde ............................................................................................. 15 1.2 Art for Art's Sake, Sensation for Sensation's: Aestheticism, Decadence and The Century Guild Hobby Horse . ..................................................................................................................... 37 1.3 Socrates at Oxford and the Portrait of the Adored: Hellenism and Homosexuality in the Hobby Horse . ............................................................................................................................... 56 1.4 "A Bundle of Letters": The Unwritten Word and the Implied Reader in Late Victorian Literature ...................................................................................................................................... 77 1.5 The Sketches of Dorian Gray: Oscar Wilde and The Century Guild Hobby Horse ................ 95 1.6 Selwyn Image and Oscar Wilde Revisited ........................................................................... 114 2. From Ancient Rome to the Nouveau Renaissance: Catholicism and Hellenism in the Hobby Horse .............................................................................................................. 120 2.1 The Heretical Hobby Horse .................................................................................................. 121 2.2 Posing as a Romanist: The Disingenuous Mr Image ............................................................ 134 2.3 Arthur Galton: A Christian Turned Turk, and Back Again .................................................. 150 2.4 Herbert Home: Cavalier and Connoisseur ............................................................................ 169 2.5 Catholicism, Hellenism and the Nouveau Renaissance ........................................................ 195 3. The Legacy of The Century Guild Hobby Horse ....................................................... 210 3.1 The Art Nouveau Magazine and The Dial.. .......................................................................... 211 3.2 The Bodley Head and the Little Magazines .......................................................................... 251 3.3 The Death of a Periodical: The Hobby Horse at The Bodley Head ...................................... 263 3.4 The Yellow Book- the Real Chameleon ............................................................................... 279 3.5 The Savoy- A Homecoming ................................................................................................ 304 3.6 The Century Guild, Oscar Wilde and the Yellow Problem. ................................................. 319 Bibliography ............................................................................................................................... 345 4 List of Illustrations. Figure 1- Sandys' Danae in the Brazen Chamber and a woodcut from The Hypnerotomachia, 1499. (Courtesy of Birmingham Central Library.) ................................................................................. 50 Figure 2- Shannon's Umbilicus Tuus Crater Tornatilis .... (Courtesy of Birmingham Central Library.)51 Figure 3 - Beardsley's cover design for Dowson's Verses ( 1896). (Taken from Beardsley, The Spirit of Beardsley: A Celebration ofHis Art and Style [1998], 195.) ..................................................... 213 Figure 4- Mackmurdo's Century Guild device and Beardsley's original cover design for Wilde's Salome (1893). (Taken from William Morris Gallery, Catalogue ofA. H. Mackmurdo and the Century Guild Collection [1967], title page, and La Bedoyere, Art Nouveau [2005], 31, respectively.) .............................................................................................................................. 215 Figure 5- Charles Ricketts' The Great Worm (c. 1889) and Gustave Moreau's La Salome Tatouee (1876). (Courtesy of Durham University and taken from http://laminute.canalblog.com/images/Salome.jpg respectively.) .............................................. 232 Figure 6- Charles Shannon's Return of the Prodigal (c. 1889; courtesy of Durham University Library) ....................................................................................................................................... 239 Figure 7- "My Hair is Filled with the Drops of the Night" by Charles Ricketts (c. 1892; courtesy of Durham University Library) ....................................................................................................... 240 Figure 8- Charles Shannon, A Glimpse ofHeaven and The Queen ofSheba (c. 1889; courtesy of Durham University Library) ....................................................................................................... 241 Figure 9- Charles Ricketts, initial piece to "Maurice de Guerin" (c. 1892; courtesy of Durham University Library) ..................................................................................................................... 242 Figure 10- Front covers to volumes VIII and IX of the Yellow Book (1896; courtesy of Durham University Library.) ...................................................................................................................
Load more

Recommended publications
  • BA THESIS Alex Lorenzů
    Charles University in Prague Faculty of Arts Department of Anglophone Literatures and Cultures BA THESIS Alex Lorenzů Literary, Cultural and Historical Influences in the Works and Beliefs of Oscar Wilde Literární, kulturní a historické vlivy v díle a přesvědčeních Oscara Wildea Prague 2012 Supervisor: PhDr. Zdeněk Beran Acknowledgements I would like to thank PhDr. Zdeněk Beran for his thorough consultation of the ideas behind my thesis and the approaches to them, as well as for his support during the writing process. Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. V Praze dne 15. 8. 2012 …....................................... Alex Lorenzů Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Abstract The thesis deals with the cultural and literary influences that can be traced in the works of Oscar Wilde. Its aim is to map out and elucidate some of the important motifs of the author's work and aesthetics in their own context as well as in the wider cultural-historical one. The methods used will be comparison of relevant materials, analysis of certain expressions typical of the author with their connotations, explaining the intertextual allusions in Wilde's work, and historical sources. The requisite attention will also be paid to Wilde as a representative of a subversive element of Victorian society and how this relates to his sexuality; that is to say, exploring the issue of the tabooing of non-heterosexuality, which may have been a decisive factor in Wilde's criticism of the conventions of his era and to his search of positive role-models in the ancient tradition both for his art and for his personal philosophy.
    [Show full text]
  • Download the Catalogue
    Five Hundred Years of Fine, Fancy and Frivolous Bindings George bayntun Manvers Street • Bath • BA1 1JW • UK Tel: 01225 466000 • Fax: 01225 482122 Email: [email protected] www.georgebayntun.com BOUND BY BROCA 1. AINSWORTH (William Harrison). The Miser's Daughter: A Tale. 20 engraved plates by George Cruikshank. First Edition. Three volumes. 8vo. [198 x 120 x 66 mm]. vii, [i], 296 pp; iv, 291 pp; iv, 311 pp. Bound c.1900 by L. Broca (signed on the front endleaves) in half red goatskin, marbled paper sides, the spines divided into six panels with gilt compartments, lettered in the second and third and dated at the foot, the others tooled with a rose and leaves on a dotted background, marbled endleaves, top edges gilt. (The paper sides slightly rubbed). [ebc2209]. London: [by T. C. Savill for] Cunningham and Mortimer, 1842. £750 A fine copy in a very handsome binding. Lucien Broca was a Frenchman who came to London to work for Antoine Chatelin, and from 1876 to 1889 he was in partnership with Simon Kaufmann. From 1890 he appears under his own name in Shaftesbury Avenue, and in 1901 he was at Percy Street, calling himself an "Art Binder". He was recognised as a superb trade finisher, and Marianne Tidcombe has confirmed that he actually executed most of Sarah Prideaux's bindings from the mid-1890s. Circular leather bookplate of Alexander Lawson Duncan of Jordanstone House, Perthshire. STENCILLED CALF 2. AKENSIDE (Mark). The Poems. Fine mezzotint frontispiece portrait by Fisher after Pond. First Collected Edition. 4to. [300 x 240 x 42 mm].
    [Show full text]
  • This Chapter Will Demonstrate How Anglo-Catholicism Sought to Deploy
    Building community: Anglo-Catholicism and social action Jeremy Morris Some years ago the Guardian reporter Stuart Jeffries spent a day with a Salvation Army couple on the Meadows estate in Nottingham. When he asked them why they had gone there, he got what to him was obviously a baffling reply: “It's called incarnational living. It's from John chapter 1. You know that bit about 'Jesus came among us.' It's all about living in the community rather than descending on it to preach.”1 It is telling that the phrase ‘incarnational living’ had to be explained, but there is all the same something a little disconcerting in hearing from the mouth of a Salvation Army officer an argument that you would normally expect to hear from the Catholic wing of Anglicanism. William Booth would surely have been a little disconcerted by that rider ‘rather than descending on it to preach’, because the early history and missiology of the Salvation Army, in its marching into working class areas and its street preaching, was precisely about cultural invasion, expressed in language of challenge, purification, conversion, and ‘saving souls’, and not characteristically in the language of incarnationalism. Yet it goes to show that the Army has not been immune to the broader history of Christian theology in this country, and that it too has been influenced by that current of ideas which first emerged clearly in the middle of the nineteenth century, and which has come to be called the Anglican tradition of social witness. My aim in this essay is to say something of the origins of this movement, and of its continuing relevance today, by offering a historical re-description of its origins, 1 attending particularly to some of its earliest and most influential advocates, including the theologians F.D.
    [Show full text]
  • The Century Guild Hobby Horse Mitchell, Rebecca
    The Century Guild Hobby Horse Mitchell, Rebecca DOI: 10.1086/696259 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Mitchell, R 2018, 'The Century Guild Hobby Horse' Papers of the Bibliographical Society of America, vol. 112, no. 1, pp. 75-104. https://doi.org/10.1086/696259 Link to publication on Research at Birmingham portal Publisher Rights Statement: Version accepted for publication by Papers of the Bibliographical Society of America on 11/09/2015. Final version of record available at: https://www.journals.uchicago.edu/doi/10.1086/696259 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • The Fabians Could Only Have Happened in Britain....In a Thoroughly Admirable Study the Mackenzies Have Captured the Vitality of the Early Years
    THE famous circle of enthusiasts, reformers, brilliant eccentrics-Sha\y the Webbs, Wells-whose ideas and unconventional attitudes fashioned our modern world by Norman C&Jeanne MacKenzie AUTHORS OF H.G. Wells: A Biography PRAISE FOR Not quite a political party, not quite a pressure group, not quite a debating society, the Fabians could only have happened in Britain....In a thoroughly admirable study the MacKenzies have captured the vitality of the early years. Since much of this is anecdotal, it is immensely fun to read. Most im¬ portant, they have pinpointed (with¬ out belaboring) all the internal para¬ doxes of F abianism. —The Kirkus Reviews H. G. Wells, George Bernard Shaw, Sidney and Beatrice Webb, Bertrand Russell, part of the outstandingly talented and paradoxical group that led the way to socialist Britain, are brought into brilliant human focus in this marvelously detailed and anecdote-filled por¬ trait of the original members of the Fabian Society—with a fresh assessment of their contributions to social thought. “The first Fabians,” said Shaw, were “missionaries among the savages,” who laid the ground¬ work for the Labour Party, and whose mis¬ sionary zeal and passionate enthusiasms carried them from obscurity to fame. This voluble and volatile band of middle-class in¬ tellectuals grew up in a period of liberating ideas and changing morals, influenced by (continued on back flap) c A / c~ 335*1 MacKenzie* Norman Ian* Ml99f The Fabians / Norman and Jeanne MacKenzie* - New York : Simon and Schuster, cl977* — 446 p** [8] leaves of plates : ill* - ; 24 cm* Includes bibliographical references and index* ISBN 0—671—22347—X : $11.95 1* Fabian Society, London* I* Title.
    [Show full text]
  • WRAP THESIS Robbins 1996.Pdf
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36344 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Decadence and Sexual Politics in Three Fin-de-Siècle Writers: Oscar Wilde, Arthur Symons and Vernon Lee Catherine Ruth Robbins Submitted for the Degree of Doctor of Philosophy University of Warwick Department of English and Comparative Literature November, 1996 Contents Summary Introduction 1 Chapter One: Traditions of Nineteenth-Century Criticism 17 Chapter Two: Towards a Definition of Decadence 36 Chapter Three: 'Style, not sincerity': Wilde's Early Poems 69 Chapter Four: The Sphinx and The Ballad: Learning the Poetics of Restraint 105 Chapter Five: Arthur Symons — The Decadent Critic as Artist 137 Chapter Six: A Poetics of Decadence: Arthur Symons's bays and Nights and Silhouettes 165 Chapter Seven: 'Telling the Dancer from the Dance': Arthur Symon's London Nights 185 Chapter Eight: Vemon Lee: Decadent Woman? 211 Afterword: 'And upon this body we may press our lips' 240 Bibliography of Works Quoted and Consulted 244 List of Illustrations, bound between pages 136 and 137 Figure 1: 'The Sterner Sex', Punch, 26 November, 1891 Figure 2: 'Our Decadents', Punch, 7 July, 1894 Figure 3: 'Our Decadents', Punch, 27 October, 1894 Figure 4: Edward Bume-Jones, Pygmalion and the Image (1878), nos 1-3 Figure 5: Edward Bume-Jones, Pygmalion and the Image (1878), no.
    [Show full text]
  • Diseño De Identidad Corporativa Y Visual De Una Marca De Cosméticos. Cristina Cerezo 2
    TFG DISEÑO DE IDENTIDAD CORPORATIVA Y VISUAL DE UNA MARCA DE COSMÉTICOS Presentado por Cristina Cerezo Garcia Tutor: Rubén Tortosa Facultat de Belles Arts de Sant Carles Grado en Bellas Artes Curso 2017-2018 Diseño de identidad corporativa y visual de una marca de cosméticos. Cristina Cerezo 2 RESUMEN En este proyecto se ha desarrollado una identidad corporativa y una identidad visual de una família de cosméticos. El mismo documento se ha desarrollado en dos partes: Una parte teórica para entender qué es el diseño gráfico en general, la imagen corporativa, la identidad visual, el packaging, el proceso y pasos que hay que seguir para desarrollar un proyecto para un cliente. Y una parte práctica, donde se explica cómo se ha realizado el concepto y los valores de la marca en concreto, el briefing y el estudio de mercado. Se- guidamente se ha desarrollado el diseño de la marca: el naming, el logotipo, el diseño del embalaje y las aplicaciones del diseño. Al igual que se ha docu- mentado su correspondiente proceso y fases del proyecto. PALABRAS CLAVE Diseño Gráfico, Identidad Visual, Diseño de marca, Identidad Corporativa, Diseño de embalaje, Ilustración aplicada, Cosmético ABSTRACT In this project has developed a corporate identity and a visual identity of a cosmetic family. The same document has developed in two parts: the first one, a theory part to understand what is graphic design, what is corporate identity, visual identity, packaging, the process and steps to follow for developing a project for a client. And the second one, to explain how it has developed the brand concept and the values, the briefing and market study.
    [Show full text]
  • Japonisme in Britain - a Source of Inspiration: J
    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).
    [Show full text]
  • The Picture of Dorian Gray Symbols and Motifs Worksheet
    The Picture of Dorian Gray Symbols and Motifs Worksheet SYMBOL – A literal object, person, place etc. that represents a figurative idea/concept/emotion. MOTIF – a recurring image or concept that reiterates an idea/concept/emotion. Read the information about each element (supplied below) and summarise the important points (and add your own) to fill in this table. Symbol/Motif What it Significance to our represents understanding of the novel E.g. The painting Beauty, vanity, The presence of the painting is a the passing of time constant reminder of the true result and conscience. of Dorian’s actions. It allows him to act without thought of the consequences and to only worry about his own pleasure, but he cannot hide from it forever. Eventually the painting’s mere existence comes to torture Dorian. Flowers The book The opium dens James Vane Red and white SOURCE 1: Course Hero The Painting By far the most important symbol in the novel is Basil's portrait of Dorian. The centrepiece of the plot, the portrait interacts with Dorian throughout the narrative. When Dorian does something immoral, the results show up on the painting, while Dorian's own face stays unmarked and beautiful. This painting is Basil's best work, but must, because of its magical power, remain unseen by everyone except Dorian. Basil and Henry saw the portrait when it was first complete. Though it is rarely seen, this picture looms symbolically and metaphorically over the entire book. The picture takes the Victorian ideal of art to its logical extreme. If art is useful because it teaches a moral lesson, how perfect must this painting be since it is an immediate barometer of ethical changes? Basil's final glimpse of his masterpiece occurs when he says that to know Dorian he must see his soul.
    [Show full text]
  • Thomas Sturge Moore Collection MS
    University Museums and Special Collections Service Thomas Sturge Moore Collection MS 165 The collection consists mainly of correspondence; 41 letters and 19 postcards from Thomas Sturge Moore, 1937-1943, and 16 letters and 8 postcards from Marie Sturge Moore (some on behalf of her husband), 1938-1947, to John Gawsworth [Terence Ian Fytton Armstrong]; envelopes; poems by Thomas Sturge Moore; poem by John Gawsworth; galley proofs of poems by Thomas Sturge Moore published in Fifty years of modern verse edited by John Gawsworth; galley proofs of poems by Michael Field published in Fifty years of modern verse with corrections by Thomas Sturge Moore; MS introductory speech by John Gawsworth to a lecture by Thomas Sturge Moore. The Collection covers the year’s 1937-1954. The physical extent of the collection is 2 files. Introduction Thomas Sturge Moore (4 Mar 1870– 18 Jul 1944) was a British poet, playwright, author, critic and artist. Born March 4 1870 in Hastings, East Sussex to Daniel Moore and Henrietta Sturge, Moore was the elder brother of Bloomsbury philosopher G. E. Moore, and the uncle of the poet Nicholas Moore and the composer Timothy Moore. Sturge Moore had prominent Quaker ties on his mother’s side, most notably that of Joseph Sturge (1793–1859), a Victorian abolitionist and philanthropist. Moore was educated at Dulwich College from 1879 to 1884, but due to his ill health he fell behind and instead enrolled in the Croydon Art School, where he met the artist Charles Shannon. He then transferred to the Lambeth School of Art, where he became a pupil of Shannon’s partner, Charles Ricketts, who taught him wood engraving.
    [Show full text]
  • 5. Christian Socialism: a Phenomenon of Many Shapes and Variances
    Debating Poverty Christian and Non-Christian Perspectives on the Social Question in Britain, 1880-1914 Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Angelika Maser aus München Göttingen 2009 1 1. Gutachter: Prof. Dr. Bernd Weisbrod Seminar für Neuere und Neueste Geschichte Georg-August-Universität Göttingen 2. Gutachterin: Prof. Dr. Ilona Ostner Institut für Soziologie Georg-August-Universität Göttingen 3. Gutachter: Prof. Dr. Jan-Ottmar Hesse Institut für Wirtschafts- und Sozialgeschichte Georg-August-Universität Göttingen Tag der mündlichen Prüfung: 04.08.2010 2 Eidesstattliche Erklärung Hiermit versichere ich an Eides statt, dass ich die eingereichte Dissertation „Debating Poverty. Christian and Non-Christian Perspectives on the Social Question in Britain, 1880-1914“ selbständig und ohne unerlaubte Hilfe verfasst habe. Anderer als der von mir angegebenen Hilfsmittel und Schriften habe ich mich nicht bedient. Alle wörtlich oder sinngemäß den Schriften anderer Autorinnen und Autoren entnommenen Stellen habe ich kenntlich gemacht. Die Abhandlung ist noch nicht veröffentlicht worden und noch nicht Gegenstand eines Promotionsverfahrens gewesen. Angelika Maser Göttingen, den 25.09.2009 3 Acknowledgements Like many doctoral theses, this one has taken a lot longer than planned. Along the way, many people have helped me with my work and supported me through difficult periods. To them it is owed that this study has finally become reality. I started work on this thesis as a scholar at the graduate research group „The Future of the European Social Model“ (DFG-Graduiertenkolleg „Die Zukunft des Europäischen Sozialmodells“) at the Georg-August-Universität Göttingen. I would like to thank the German Research Foundation for the scholarship I received.
    [Show full text]
  • Lawrence Rinder the Possible: a Thread of Change
    video production, dance, music, scent The Possible: design, artists’ correspondence, photography, A Thread of instruction, song-writing, poetry, book- making, sculpture, drawing, printmaking, Change felting, games, yoga, lectures, meditation, hiking, bathing, fashion, collage, kite-making, Lawrence Rinder cooking, and display. The designers of the exhibition’s furnishings, the craft specialists who facilitated the various workshops, and the guest artists were all given equal weight, so that the exhibition offered a creative environment without hierarchy among design, craft, and art. More than one hundred people, children as well as adults, participated as core creators, deepening existing collaborative relation- ships and creating new ones across many disciplines. The exhibition had no clear 27 beginning or end: it evolved over two and a half years of preparation through a series of correspondence projects and gatherings that took place across the country. Even after the galleries opened to the public the exhibition continued to evolve: new artists were welcomed, and surprising objects appeared in the galleries. Visitors’ experiences of the show were never the same twice. David Wilson, the curator of The Possible, The Possible grew out of Wilson’s prior is an artist. He brought an artist’s sensibility to work creating site-specific installations the exhibition, creating an open-ended, and festivals; however, whereas these earlier nondidactic framework for the generation of projects usually took place in and responded creativity, collaboration, and community. to natural settings (for example, Angel The Possible encompassed furniture design, Island, Wildcat Canyon, and Rodeo Beach), mail art, historical archives, video, ceramics, The Possible was set in the dramatic BAM/ textile dyeing, weaving, sound recording, PFA building, a 1960s Brutalist structure fig.1 designed by Mario Ciampi.
    [Show full text]