DOCSLIB.ORG

Naming and Narrating” Transferts Critiques Et Dynamiques Des Savoirs N° 1, 2014 Table De Matières

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Naming and Narrating” Transferts Critiques Et Dynamiques Des Savoirs N° 1, 2014 Table De Matières “Naming and Narrating” Transferts critiques et dynamiques des savoirs N° 1, 2014 Table de matières Introduction 3 Yves Abrioux et Lori Maguire Naming Speaker’s Gender Identification: On the Influence of Mean f0 and Intonation in American English and French Listeners 6 Erwan Pepiot Paris ou Paris ou quand le littéraire fraye avec la botanique 19 Andrée-Anne Kekeh The Dream Comes by the Road: A Note on Botanical Nomenclature and Literature 30 Peter Behrman de Sinéty Labelling Wars, Implications and Consequences 34 Beatrice Heuser GWOT, the Global War on Terror – Gee, What’s in a Name 43 Lori Maguire Narrating Voix autres : transsexualisme et transfiguration 53 Claire Gillie De l’emprunte à l’empreinte vocale : traversées et chemins de traverse de la voix 82 Claire Gillie Voix et orthophonie : ou prendre la peine de n’en point prendre 105 Claire Pillot-Loiseau Transferts critiques et dynamiques des savoirs La voix en pilotage automatique : Maintenir la voix sur une trajectoire et avec une vitesse préétablies avec le logiciel RTCOMP pour les besoins de la correction phonétique 113 Roussi Nikolov et Malina Ditcheva French Perspectives on Digital Humanities 121 Yan Brailowsky Meaning Construction in Digital Environments: Turner’s Virtual Gallery 137 Séverine Letalleur-Sommer Diplomacy in the Age of Digital Communications 155 Nicolas de la Grandville, Beatrice Heuser, Richard Jones, Lori Maguire, Paul Patin, Raphaël Ricaud 2 “Naming and Narrating” 2014 Introduction Yves ABRIOUX et Lori MAGUIRE Au cours de l’année universitaire 2011-2012, l’unité de recherche EA 1569 « Transferts critiques et dynamiques des savoirs (domaine anglophone) » a développé une réflexion sur le thème de Naming and Narrating dans le but d’explorer ce qui fait la spécificité de ses différentes composantes : littérature, linguistique et histoire/politique, mais aussi et surtout ce qui est susceptible de les rapprocher. Le travail débuta en novembre 2011 avec un colloque collectif intitulé « Etats critiques et transitions disciplinaires », préparé sous la direction d’Yves Abrioux, directeur de l’EA 1569, assisté de Lori Maguire pour l’organisation de la manifestation et le suivi scientifique. Cette première étape fut suivie de trois demi-journées d’études, chacune organisée par un des axes de l’unité. La première demi-journée : « Labelling : Langue et politique, politique des mots », se déroula en janvier 2012. Elle prit pour objet l’histoire et la politique. Puis ce fut au tour de la littérature en mars 2012, avec « Le savoir botanique en question : approches pluridisciplinaires de My Garden (Book): de Jamaica Kincaid ». Enfin, la dernière demi-journée fut organisée en mai 2012 par les linguistes, sur le thème : « Changements de voix : approches, didactique, orthophonique et analytique ». La présente publication reprend la majorité des communications présentées lors de ces différents événements scientifiques. Elle est divisée en deux parties dont chacune commence par examiner les cas les plus personnels, voire intimes, avant de se tourner vers le domaine public. Nous avons choisi l’intitulé Naming pour la première section. La dénomination est une dimension fondamentale du langage et donc de notre compréhension du monde. Une des façons les plus élémentaires de nommer passe par l’identification de la qualité genrée d’une voix. Erwan Pepiot présente les résultats de ses expériences sur cette question dans “Speaker’s Gender Identification: On the Influence of Mean f0 and Intonation in American English and French Listeners”. Il est ensuite question de littérature et de l’utilisation qui y est faite de termes botaniques. Dans « Paris ou Paris ou quand le littéraire fraye avec la botanique » Andrée-Anne Kekeh étudie la façon dont laquelle la romancière américaine d’origine antillaise Jamaica Kincaid emprunte et détourne les noms des plantes pour repenser son rapport à l’écriture et à l’histoire. Dans “The Dream Comes by the Road : A Note on Botanical Nomenclature and Literature” Peter Behrman de Sinéty analyse la relation entre 3 Transferts critiques et dynamiques des savoirs botanique et poésie. Enfin, le domaine public est abordé dans deux textes étudiant l’un et l’autre les implications de la nomenclature en politique. « Labelling Wars, Implications and Consequences » de Beatrice Heuser examine les termes utilisés par les gouvernements pour décrire une guerre. Lori Maguire analyse le cas spécifique du gouvernement Bush et de la guerre d’Irak dans « GWOT, the Global War on Terror – Gee, What’s in a Name ». La seconde partie du recueil : Narrating, examine le processus de mise en récit. Il ne suffit pas de nommer un objet, encore faut-il le décrire et le raconter. La voix joue évidemment un rôle clé ici. Plusieurs articles se penchent sur cet élément de notre identité. L’échelle la plus personnelle vient encore une fois en premier, avec « Voix autres : transsexualisme et transfiguration » où la psychanalyste Claire Gillie explore ce qui fait souvent de la voix le dernier bastion qui résiste à la réassignation sexuelle. La réflexion sur la voix se poursuit au fil des trois contributions suivantes : « De l’emprunte à l’empreinte vocale : traversées et chemins de traverse de la voix » de Claire Gillie, « Voix et orthophonie : ou prendre la peine de n’en point prendre » de Claire Pillot-Loiseau et « La voix en pilotage automatique : Maintenir la voix sur une trajectoire et avec une vitesse préétablies avec le logiciel RTCOMP pour les besoins de la correction phonétique » de Roussi Nikolov et Malina Ditcheva. Puis Yan Brailowsky aborde, dans « French Perspectives on Digital Humanities », un domaine plus public de la narration. L’exploration de l’impact des nouveaux medias sur le processus de la narration se poursuit dans l’article de Séverine Letalleur-Sommer sur la présentation des tableaux de J.M.W. Turner au musée Tate Britain de Londres : « Meaning Construction in Digital Environments : Turner’s Virtual Gallery ». Le recueil s’achève sur la version écrite d’une table ronde : « Diplomacy in the Age of Digital Communications », qui a réuni des diplomates (Richard Jones, Paul Patin et Nicolas de la Grandville) et des universitaires (Beatrice Heuser, Lori Maguire et Raphael Ricaud). La diplomatie est une des voies principales utilisées par un pays pour projeter son image et influencer la perception de son action à l’étranger. Quel est l’impact des nouveaux médias sur la construction narrative d’une identité nationale ? Outre la volonté de témoigner de la cohérence des activités d’une unité de recherche multidisciplinaire qui, en 2011-2012, s’approchait de la fin d’un contrat quinquennal, la série de textes présentée ici a pour ambition de montrer à quel point la recherche sur une aire linguistique spécifique, en l’occurrence le domaine anglophone, est apte à soulever des questions intéressant les sciences humaines dans leur ensemble, tous domaines linguistiques confondus. 4 “Naming and Narrating” 2014 Nous tenons à remercier chacun des auteurs ainsi que les organisateurs des ateliers dont fut constitué le colloque de novembre 2011 puis des trois journées d’études. Nous remercions tout particulièrement Andrée-Anne Kekeh, Jean-Yves Dommergues et Arnaud Regnauld qui ont rassemblé les textes pour publication. Nous souhaitons aussi remercier l’équipe de la bibliothèque universitaire de Paris 8 et en particulier Catherine Dufour qui a pris en charge la publication de ce recueil de travaux de recherche. Fatima Maazouzi Benali a relu et mis en forme (sous la direction de Lori Maguire) l’ensemble des textes en vue de leur mise en ligne. Qu’elle en soit remerciée. 5 Transferts critiques et dynamiques des savoirs Speaker’s Gender Identification: On the Influence of Mean F0 and Intonation in American English and French Listeners Erwan PEPIOT [email protected] Maître de conférences – Université Paris 8 Domaines de recherche : Différences acoustiques entre les voix de femmes et d’hommes, identification du genre par la voix et conséquences psycholinguistiques de ces différences inter- genres, chez les locuteurs anglophones américains et francophones parisiens; Syllabation chez les locuteurs bilingues anglais L1 / français L2 et français L1 / anglais L2. Trois publications récentes : Pépiot, E. (accepté). “Male and female speech: a study of mean f0, f0 range, phonation type and speech rate in Parisian French and American English speakers”. Speech Prosody 2014; Pépiot, E. 2012. « Les temps de traitement des voix de femmes et d’hommes sont- ils équivalents? » Actes des JEP-TALN-RECITAL 2012, Vol.1, 153-160; et Pépiot, E. 2011. « Voix de femmes, voix d’hommes : à propos de l’identification du genre par la voix chez des auditeurs anglophones et francophones ». Plovdiv University “Paissii Hilendarski”, Scientific Works – Philology, Vol. 49, Book 1, 418-430 . Abstract: This experimental study investigated the role played by mean f0 and intonation in speech-based gender identification. A perceptual experiment was jointly conducted on French (n=32) and American English listeners (n=16). Sentences produced by female and male speakers were presented to the listeners in four different conditions: natural voices, mean f0 resynthesized at 169 Hz for both females and males with preserved intonation, flat f0 at 169 Hz for both genders, mean f0 at 209 Hz for males and 129 Hz for females while preserving intonation. Their task was to identify the speaker’s gender (female or male) and provide a degree of certainty. Results showed that intonation was an important clue for French listeners but not for American English participants, who appeared to be more sensitive to mean f0. This suggests that one’s native language plays a role in the strategies adopted to identify the speakers' gender from speech. These strategies may therefore be socially constructed. Keywords: phonetics, gender identification from speech, female voices, male voices, fundamental frequency, intonation, American English speakers, French speakers, cross-language differences. 6 “Naming and Narrating” 2014 1. Introduction Mean fundamental frequency (or mean f0), an acoustic measurement corresponding to voice pitch, is generally considered as the main difference between female and male voices.
Load more

Recommended publications
  • The Controversial Treatments of the Wallace Collection
    HOME ABOUT US THE JOURNAL MEMBERSHIP ARCHIVE LINKS 8 September 2011 The Controversial Treatments of the Wallace Collection Watteaus Restorers who blunder often present their dramatically altered works as miraculous “recoveries” or “discoveries”. Sometimes they (or their curators) park their handiwork in dark corners pending re-restorations (see the Phillips Collection restoration of Renoir’s “The Luncheon of the Boating Party” and the Louvre’s multi- restoration of Veronese’s “The Pilgrims of Emmaüs”). Here, Dr Selby Whittingham, the Secretary-General of the Watteau Society (and the 2011 winner of ArtWatch International’s Frank Mason Prize – see below), discusses the controversial restorations of Watteau paintings at the Wallace Collection and calls for greater transparency and accountability in the treatment of old masters. Above, Fig. 1: “Les charmes de la vie”, (reversed) engraving by Pierre Aveline, after Antoine Watteau, the British Museum, London. Selby Whittingham writes: The Watteau exhibitions held in London 12 March – 5 June 2011 prompted much comment, but little about the condition of the oils at the Wallace Collection [- see endnote 1]. Exceptionally Brian Sewell mentioned their poor state: “both overcleaned and undercleaned, victims of cleaners with Brillo pads and restorers with a taste for gravy.” [2] This was a bit sweeping, but had some justification. In the Watteau Society Bulletin 1985 Sarah Walden contrasted the recent restorations at the Wallace Collection with those at the Louvre and the Above, Fig. 2: Watteau’s “Les charmes de la vie” as reproduced in the Wallace Collection’s 1960 volume of different philosophies behind them [3]. The report illustrations of pictures and drawings to accompany the on the cleaning of “Les Charmes de la vie” at the Catalogue of Pictures and Drawings.
    [Show full text]
  • Elhanan Bicknell - Collection of Paintings
    Elhanan Bicknell - Collection of paintings. Detail of those by JMW Turner Index Himalayan mountains ....................................................................................................2 Himalayan mountains ....................................................................................................3 Giudecca, la Donna della Salute and San Georgio ........................................................4 Campo Santo, Venice.....................................................................................................5 Palestrina – a Composition ............................................................................................6 Sun rising through Vapour.............................................................................................7 Calder Bridge.................................................................................................................8 Ivy Bridge Mill ..............................................................................................................9 Port Ruysdael...............................................................................................................10 Wreckers - Coast of Northumberland,.........................................................................11 Ehrenbreitstein:............................................................................................................12 Helvoetsluys: ‘The City of Utrecht’, 64, going to sea .................................................14 Antwerp: Van Goyen Looking for a Subject
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • {PDF} Turner Ebook Free Download
    TURNER PDF, EPUB, EBOOK William Gaunt,Robin Hamlyn | 128 pages | 12 Aug 1998 | Phaidon Press Ltd | 9780714827599 | English | London, United Kingdom Turner | Definition of Turner by Merriam-Webster Turner — , English painter Jamie Turner born , American automobile dealer Jane Turner born , Australian actor and comedian Janine Turner born , American actor Jay Turner — , American football running back Jean Turner born , member of the Scottish Parliament Jermaine Turner born , American professional basketball player Jessie Franklin Turner — , American fashion designer. Turner born , American magician, mentalist and speaker Jonathan Baldwin Turner — , abolitionist and educational leader Jonathan D. Turner end , American football player T. Retrieved 28 August A Dictionary of English Surnames Third ed. Retrieved 9 December American Surnames. Genealogical Publishing Com. Dictionary of American Family Names. Oxford University Press. Time Traveler for turner The first known use of turner was in the 13th century See more words from the same century. Statistics for turner Look-up Popularity. More from Merriam-Webster on turner Thesaurus: All synonyms and antonyms for turner. Comments on turner What made you want to look up turner? Get Word of the Day daily email! Test Your Vocabulary. Love words? Need even more definitions? The awkward case of 'his or her'. Take the quiz Forms of Government Quiz Name that government! Take the quiz Spell It Can you spell these 10 commonly misspelled words? Take the quiz Citation Do you know the person or title these quotes desc Play the game. High levels of volcanic ash from the eruption of Mt. Tambora in the atmosphere during , the " Year Without a Summer ", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work.
    [Show full text]
  • Regionalism: Challenging the Canon Despatched by Surface Rather Than Air Mail
    May 1990 37 BULLETIN ASSOCIATION OF ART HISTORIANS Editor: Clare Pumfrey, 40 Sillwood Road, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Pamela Courtney, Albert House, Monnington-on-Wye, Hereford HR4 7NL Tel: 09817 344 From the editor NEWS REPORT Problems with airmailing the Bulletin I must apologise to all overseas Dublin Conference Report members who received their copy of Bulletin 35 extremely late. This was due to the fact that the copies were Regionalism: Challenging the Canon despatched by surface rather than air mail. This error occurred because I was advised by the Post Office that The Association's sixteenth annual Reformation in the Regions: Image and when a large number of items to be conference was the first AAH conference Discord (Helga Robinson-Hammerstein) posted are collected by the Post Office, held outside the United Kingdom, hosted Word and Image (David Scott) and the postagehas been prepaid, the by the Department of the History of Art, Establishing the Canon: The Post Office will stick an airmail label Trinity College, Dublin. The conference Institutionalisation of Art (Peter on each one. This was completely false was organised by Fintan Cullen and took Funnell) information, and so all the overseas place from 23-26 March. In total, 490 Italian Painting: Centre and Periphery, copies went by surface mail even people attended. There were 357 full 1200-1300 (Julian Gardner) though I had paid the airmail postage. conference delegates and 88 partial The search for Vernacular Expression At the moment, I am in the process conference attendees. This total includes in Design: late 19th and early 20th of negotiating a reimbursement of the 45 Student Conference Assistants who had centuries (Nicola Gordon Bowe) excess postage that was paid.
    [Show full text]
  • Part 1: Veronese Into Botero from Veronese to Turner
    Home ABOUT US ARCHIVE LINKS MEMBERSHIP THE JOURNAL 24 March 2014 From Veronese to Turner, Celebrating Restoration-Wrecked Pictures Part 1: Veronese into Botero A rupture between words and pictorial realities has emerged in the museum world. It is the product of an over- heated international scramble to produce blockbuster exhibitions. After prising and pulling together works from many quarters, curators of temporary exhibitions write as if blind to the most glaring differences of condition and as if ignorant of all restoration-induced controversies. This widespread critical failure to address the variously – and often very recently – altered states of pictures corrupts scholarship and confers international respectability on damaging local restoration practices. In doing so, this effective pan-national conspiracy “not to notice” also compounds and sanctions the general reluctance of museums ever to acknowledge their own errors in the “conservation” treatment of art. The injuriousness of so much picture restoration is more the product of aesthetic/artistic incomprehension than of any self- agrandising intent. If every unhappy restoration is unhappy in its own way, so to speak, with Veronese, the best balanced of all painters, the most commonly encountered crime against his art is the debilitation of his firm plastic grip by restorers in hot pursuit of brightened and heightened colours. The catalogue to the National Gallery’s show “Veronese: Magnificence in Renaissance Venice” provides a usefully explicit and clear-cut case in point. Its text is entirely the work of the show’s “guest” curator, Xavier Salomon. The Above, Fig. 1: A detail of the Louvre’s Veronese The Supper at National Gallery’s director, and fellow Veronese Emmaus, as published in the catalogue to the National Gallery’s Credit Suisse sponsored exhibition “Veronese: authority/champion, Nicholas Penny, declares the catalogue Magnificence in Renaissance Venice”.
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • Accrediting Private Collections to Serve the Public Interest in Art
    ANDREW TOPOROFF, ACCREDITING PRIVATE COLLECTIONS TO SERVE PUBLIC INTEREST, 44 COLUM. J.L & ARTS 581 (2021) Accrediting Private Collections To Serve the Public Interest in Art Andrew Toporoff* INTRODUCTION This Note is about the civic role of private collections of art. Specifically, it argues that private collections can and should be a fixture of the U.S. cultural landscape alongside museums, which are devoted to serving the public.1 To some extent, this already happens. Collectors often lend their artwork for museum exhibitions, for example, and some put their entire collections up for public display.2 Nothing better illustrates the convergence of owning art as an asset and for conspicuous public display than one entrepreneur’s business idea to sell prefabricated private museums: Why not make it easy for collectors, with readymade galleries to accommodate the Koons or the Basquiat?3 But this Note adds to commentators who wish to see a reform in private collecting so that the public benefits more from these collections than it does currently.4 This Note argues that the public interest calls for enhancing, not subordinating, the role of private collectors. Certain commentators argue that collectors should be compelled to act in service to the public, either by lending significant works of art to a museum or publicly displaying the works themselves.5 Behind such proposals lies the notion that private collections and museums are in tension, and that museums are a superior institution for benefiting the public, if private collections are capable of * J.D. Candidate, Columbia Law School, Class of 2021. Thank you to Professor Philippa Loengard, Columbia Law School; Marina Schneider, UNIDROIT; the editors of the Columbia Journal of Law and the Arts, especially David Fischer, Benjamin Feiner, Kate Garber, Alec Fisher, Will Reed, and Sam Smart; my parents; and Antonia Miller.
    [Show full text]
  • Seduction, Space and Time in the Art of Jean-Antoine Watteau and William Hogart
    BIROn - Birkbeck Institutional Research Online Enabling Open Access to Birkbeck’s Research Degree output Making the crossing : seduction, space and time in the art of Jean-Antoine Watteau and William Hogart https://eprints.bbk.ac.uk/id/eprint/44593/ Version: Full Version Citation: Tambling, Kirsten Yvonne (2019) Making the crossing : se- duction, space and time in the art of Jean-Antoine Watteau and William Hogart. [Thesis] (Unpublished) c 2020 The Author(s) All material available through BIROn is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Making the Crossing: Seduction, Space and Time in the Art of Jean- Antoine Watteau and William Hogarth Volume One: Text Kirsten Yvonne Tambling Thesis submitted for the degree of PhD History of Art Birkbeck, University of London August 2018 1 DECLARATION I confirm that the work presented in this thesis is my own. Where information has been de- rived from other sources, this has been indicated. Kirsten Yvonne Tambling 2 ABSTRACT This thesis asks how seduction is addressed in the work of Jean-Antoine Watteau (1684-1721) and William Hogarth (1697-1764), in the context of early eighteenth-century cross-Channel relationships. Literally meaning ‘leading astray’, seduction in the eighteenth century had resonances for sexuality, gender, morality, politics and aesthetics. This thesis uses a broad methodology, drawing on literary and social history, as well as the history of art, to provide an overview of seduction’s parameters, and to address its implications on both sides of the Channel.
    [Show full text]
  • THE SALOPIAN Issue No
    TITLE HERE 1 THE SALOPIAN Issue No. 158 - Summer 2016 ith the shock waves of the recent decision to leave the EU still CONTENTS Wreverberating around the world, rarely has the Shrewsbury bubble seemed so disconcertingly seductive. But of course the bubble Academic News 4 is, and should be, an illusion, and it is perhaps more important than School Prizewinners 2016 7 ever for Shrewsbury’s pupils to be aware of what is going on outside the Scholarships 8 McEachran Prize 2016 8 bubble, so that their entry into a world which looks very different from Walking towards a Better Future 10 that into which, speaking for myself, I graduated in the late 1970s does Head of School 10 not come as too much of a shock. Jim Kennedy - obituary 11 Michael Schützer-Weissmann 12 That the rough seas of the wider world lap, or perhaps crash, against Ingsoc and Stalin 14 Our World is Beautiful 16 Shrewsbury’s walls, and that the chronic geopolitical instability we see The Pupil Voice 17 not only in Europe, but around the world, are not new phenomena, is Old Salopians in WWI - 1916 18 obvious, but we are sharply reminded of it in this issue by the centenary Ten Trees 20 article on 1916 and the Battle of the Somme in which many Salopians Art at Shrewsbury 26 lost their lives at a time when it must have seemed that Europe was Drama 28 Music 30 irreparably fractured. It is important for us all, whatever our political Miles Clark Travel Scholarship 32 persuasion, to keep such memories alive, for many reasons, but not least Rovers Return 35 to provide us with some perspective on the challenges which face us in RSSH 36 our own time.
    [Show full text]
  • Bcwe06a Artwatch UK
    An ArtWatch UK Submission to the Burrell Collection (Lending and Borrowing) (Scotland) Bill Committee, on: Concrete evidence of injuries to works of art during overseas travel Public knowledge of any travel-induced injuries is incomplete because accounts of such are rarely volunteered whether works of art are travelling at home or abroad - or even when being moved within an institution. International travel compounds risks because: 1) The distances are greater and exposure to fluctuations of environment and vibrations at high and fluctuating altitudes is correspondingly greater and longer. In “Conservation and Exhibitions” (Butterworths, 1987) the conservator Nathan Stolow said that: “There are few reports available on the damage of works of art resulting from atmospheric pressure changes in air travel. Figure10.20 illustrates the extensive damage caused to a painting in an air trip from London to Rome. The large paint losses here were attributed to sharp changes in the internal relative humidity during the itinerary, most likely caused by pressure changes.” Such risks were confirmed to ArtWatch by one of its members who had been a trans-Atlantic pilot on Boeing 707s. As Stolow reported, when Henry Holiday’s, "Dante and Beatrice" was en route from London to Rome on loan from the Walker gallery in Liverpool it suffered severe damage resulting in the subsequent repairs shown below. Stolow cited another incident where water got into a packing case on the Tarmac. When Leonardo’s “Mona Lisa” was loaned to the Metropolitan Museum in New York it was drenched overnight by a faulty sprinkle in a security vault. 2) The logistics and costs of preparing works for long international journeys make it financially necessary to show travelling exhibitions in more than one venue.
    [Show full text]
  • Of the Association of Art Historians
    of the Association of Art Historians Editor: Flavia Swann Editorial Office: The editor wishes to encourage members to send items 13.30 Book Fair lunch, 2nd sitting, Talbot Rice Art Department of of interest, especially on forthcoming seminars and Centre. History of Art & Design conferences, and on issues of topical or philosophical 11.30-17.00 Book Fair in Upper Library Hall, Old North Staffordshire debate. Members are reminded that all enquiries College. Polytechnic relating to membership, changes of address should be 16.15 Conference divides for research paper sessions College Road sent to the Hon. Secretary Peter Fitzgerald, at the 1-10. Rooms in George Square area. Stoke-on-Trent ST4 2DE University of Reading. All financial correspondence 16.15 Research paper 1. Telephone: 17.00 Research paper 2. (0782)45531 should be addressed to the Hon. Treasurer Eric Femie at the University of East Anglia. 17.45-18.30 Research paper 3. 19.15-20.45 Reception by Lord Provost of the City ASSOCIATION OF ART HISTORIANS of Edinburgh. Location to be announced. EDINBURGH CONFERENCE 1984. 20.30 Conference dinner, University Staff Club, Chambers Street. (Additional cost £14.) The Tenth Annual Conference will be held at the University of Edinburgh from Friday 30 March to Sunday 1 April 1984 Monday 2 April. The programme printed below is as detailed as 09.30-10.15 Professional groups 1: Universities, possible at the time of going to press. A complete Museums; David Hume Tower, Lecture Halls A and B. timetable and programme will be included in the 10.15 Coffee, David Hume Tower cafeteria.
    [Show full text]