The Battle Over Ancient Artifacts
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Lord Elgin and the Ottomans: the Question of Permission
Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed. -
Learning from Paleo-Landscapes Defining the Land-Use Systems of the Ancient Malayo-Polynesian Homeland
790 Current Anthropology Volume 59, Number 6, December 2018 Learning from Paleo-Landscapes Defining the Land-Use Systems of the Ancient Malayo-Polynesian Homeland by Mike T. Carson and Hsiao-chun Hung Paleo-landscape investigations contextualize how people have inhabited and coevolved dynamically with their land- forms, resource zones, and social-ecological niches during measured time intervals and through extended chrono- logical sequences. Toward illustrating this research potential, changing paleo-landscapes 2500–1500 BC reveal the ancient conditions of the places where people lived in both Taiwan and the northern Philippines, in this case exploring what transpired there during a critical time period that heralded deep transformation of the language history, cultural heritage, economic production, and population demography of Island Southeast Asia as known today. During the time range of interest, the region’s coastlines and habitat configurations were substantially different from today’s circum- stances, prior to change in sea level, accelerated slope erosion, lowland sedimentary buildup, and some of the world’s most rapid recorded tectonic uplift. The results show that people in eastern Taiwan at 2200–2000 BC faced a crisis of limited suitable landforms for their particular mode of subsistence economy, thus instigating overseas migration to the northern Philippines as a means to expand into other territories, with continued effects through 1500 BC and thereafter. Paleo-landscape research aims to learn about the place of hu- they used their available zones, and how they adapted to their man societies in the ever-changing world that we have inhabited changing conditions. In one such documented example, the in the past and present. -
Arcl0017 Greek Art and Architecture Ucl - Institute of Archaeology
ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission. ARCL0017 1. OVERVIEW&SCHEDULE Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art. This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future. -
Susa and Memnon Through the Ages 15 4
Samuel Jordan Center for Persian Studies and Culture www.dabirjournal.org Digital Archive of Brief notes & Iran Review ISSN: 2470-4040 Vol.01 No.04.2017 1 xšnaoθrahe ahurahe mazdå Detail from above the entrance of Tehran’s fire temple, 1286š/1917–18. Photo by © Shervin Farridnejad The Digital Archive of Brief Notes & Iran Review (DABIR) ISSN: 2470-4040 www.dabirjournal.org Samuel Jordan Center for Persian Studies and Culture University of California, Irvine 1st Floor Humanities Gateway Irvine, CA 92697-3370 Editor-in-Chief Touraj Daryaee (University of California, Irvine) Editors Parsa Daneshmand (Oxford University) Arash Zeini (Freie Universität Berlin) Shervin Farridnejad (Freie Universität Berlin) Judith A. Lerner (ISAW NYU) Book Review Editor Shervin Farridnejad (Freie Universität Berlin) Advisory Board Samra Azarnouche (École pratique des hautes études); Dominic P. Brookshaw (Oxford University); Matthew Canepa (University of Minnesota); Ashk Dahlén (Uppsala University); Peyvand Firouzeh (Cambridge University); Leonardo Gregoratti (Durham University); Frantz Grenet (Collège de France); Wouter F.M. Henkelman (École Pratique des Hautes Études); Rasoul Jafarian (Tehran University); Nasir al-Ka‘abi (University of Kufa); Andromache Karanika (UC Irvine); Agnes Korn (Goethe Universität Frankfurt am Main); Lloyd Llewellyn-Jones (University of Edinburgh); Jason Mokhtarain (University of Indiana); Ali Mousavi (UC Irvine); Mahmoud Omidsalar (CSU Los Angeles); Antonio Panaino (Univer- sity of Bologna); Alka Patel (UC Irvine); Richard Payne (University of Chicago); Khodadad Rezakhani (Princeton University); Vesta Sarkhosh Curtis (British Museum); M. Rahim Shayegan (UCLA); Rolf Strootman (Utrecht University); Giusto Traina (University of Paris-Sorbonne); Mohsen Zakeri (Univer- sity of Göttingen) Logo design by Charles Li Layout and typesetting by Kourosh Beighpour Contents Articles & Notes 1. -
The Parthenon Sculptures Sarah Pepin
BRIEFING PAPER Number 02075, 9 June 2017 By John Woodhouse and Sarah Pepin The Parthenon Sculptures Contents: 1. What are the Parthenon Sculptures? 2. How did the British Museum acquire them? 3. Ongoing controversy 4. Further reading www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 The Parthenon Sculptures Contents Summary 3 1. What are the Parthenon Sculptures? 5 1.1 Early history 5 2. How did the British Museum acquire them? 6 3. Ongoing controversy 7 3.1 Campaign groups in the UK 9 3.2 UK Government position 10 3.3 British Museum position 11 3.4 Greek Government action 14 3.5 UNESCO mediation 14 3.6 Parliamentary interest 15 4. Further reading 20 Contributing Authors: Diana Perks Attribution: Parthenon Sculptures, British Museum by Carole Radatto. Licenced under CC BY-SA 2.0 / image cropped. 3 Commons Library Briefing, 9 June 2017 Summary This paper gives an outline of the more recent history of the Parthenon sculptures, their acquisition by the British Museum and the long-running debate about suggestions they be removed from the British Museum and returned to Athens. The Parthenon sculptures consist of marble, architecture and architectural sculpture from the Parthenon in Athens, acquired by Lord Elgin between 1799 and 1810. Often referred to as both the Elgin Marbles and the Parthenon marbles, “Parthenon sculptures” is the British Museum’s preferred term.1 Lord Elgin’s authority to obtain the sculptures was the subject of a Select Committee inquiry in 1816. It found they were legitimately acquired, and Parliament then voted the funds needed for the British Museum to acquire them later that year. -
Troubleshooting Rosetta Stone Log-In Issues on Mobile
Portal > Knowledgebase > Teaching Learning and Research > Rosetta Stone > Troubleshooting Rosetta Stone Log-in Issues on Mobile Troubleshooting Rosetta Stone Log-in Issues on Mobile Kyle A. Oliveira - 2019-05-31 - 0 Comments - in Rosetta Stone A recent update to the Rosetta Stone apps on both iOS and Android may cause authentication issues. Please refer to the information below for resolving these issues. iOS To prevent any further issues regarding logging into the app on iOS, you must avoid opening the app unless you've authenticated through Brown's log in portal. Opening the app outside of logging in through Brown, will most likely result in the inability to log in and use the app. If you are having issues logging into it: Solution 1 1. Open your device's web browser, visit rosettastone.brown.edu, and log in 2. Click the “Launch Rosetta Stone Language Lessons” link to launch the app 3. You will experience the same problem as in the past - you will just see a "splash" screen instead of being logged in. On this screen, click Enterprise And Education Learners. 4. On the login screen that appears, type three random values (just a single letter will work) into the Username, Password, and Namespace fields. 5. You will see an error message. Click Try again and proceed with the next step. 6. Return to your web browser and again, visit rosettastone.brown.edu. 7. Click the “Launch Rosetta Stone Language Lessons” link to launch the app again. 8. Wait for the login to proceed - it should work. If you still see the error message, click the Try Again option. -
Wikimedia with Liam Wyatt
Video Transcript 1 Liam Wyatt Wikimedia Lecture May 24, 2011 2:30 pm David Ferriero: Good afternoon. Thank you. I’m David Ferriero, I’m the Archivist of the United States and it is a great pleasure to welcome you to my house this afternoon. According to Alexa.com, the internet traffic ranking company, there are only six websites that internet users worldwide visit more often than Wikipedia: Google, Facebook, YouTube, Yahoo!, Blogger.com, and Baidu.com (the leading Chinese language search engine). In the States, it ranks sixth behind Amazon.com. Over the past few years, the National Archives has worked with many of these groups to make our holdings increasingly findable and accessible, our goal being to meet the people where they are. This past fall, we took the first step toward building a relationship with the “online encyclopedia that anyone can edit.” When we first began exploring the idea of a National Archives-Wikipedia relationship, Liam Wyatt was one of, was the one who pointed us in the right direction and put us in touch with the local DC-area Wikipedian community. Early in our correspondence, we were encouraged and inspired when Liam wrote that he could quote “quite confidently say that the potential for collaboration between NARA and the Wikimedia projects are both myriad and hugely valuable - in both directions.” I couldn’t agree more. Though many of us have been enthusiastic users of the Free Encyclopedia for years, this was our first foray into turning that enthusiasm into an ongoing relationship. As Kristen Albrittain and Jill James of the National Archives Social Media staff met with the DC Wikipedians, they explained the Archives’ commitment to the Open Government principles of transparency, participation, and collaboration and the ways in which projects like the Wikipedian in Residence could exemplify those values. -
American Journal of Contemporary Hellenic Issues
AMERICAN JOURNAL OF Volume 11 Spring 2020 CONTEMPORARY HELLENIC ISSUES Unifying the Parthenon Sculptures George Vardas Still it survives Ruin’d but in its ruins beautiful William Haygarth.1 The English Romantic poet John Keats first encountered the Parthenon Sculptures in 1817 and through them saw a vision of a lost Hellenic world. In “awe-struck deference,” Keats proceeded to pen a sonnet, On Seeing the Elgin Marbles, his mind dizzy with swirling ideas and an “indescribable feud” within his soul as he wrestled with the “dim-conceived glories of the brain.” Keats contrasted his own mortality to "each imagined pinnacle and steep/Of godlike hardship", the great artistic achievement of immortal "Grecian grandeur" and a certain "magnitude" projected by the sculptures. In Ode on a Grecian Urn Keats’ sylvan historian could but only inquire, “What men or gods are these?" Commencing in 1801 workers engaged by the British Ambassador to Constantinople, the 7th Earl of Elgin, Thomas Bruce, by a combination of bribery of local Ottoman authorities in Athens and a dubious authorization (“firman”), began stripping more than one hundred sculptures and significant fragments consisting of pedimental figures, metope reliefs, and panels from the frieze from the Parthenon temple atop the Acropolis. Originally intended for his own private collection, Lord Elgin was forced under financial pressure to sell the sculptures to the British government, and in 1816 the Elgin Collection of Parthenon Sculptures became an exhibit at the British Museum in London where -
Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Winter 2019 Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington Serafina erriF Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Environmental Education Commons, Environmental Monitoring Commons, Natural Resources and Conservation Commons, Other Environmental Sciences Commons, and the Sustainability Commons Recommended Citation Ferri, Serafina, "Post-Glacial Fire History of Horsetail Fen and Human-Environment Interactions in the Teanaway Area of the Eastern Cascades, Washington" (2019). All Master's Theses. 1124. https://digitalcommons.cwu.edu/etd/1124 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. POST-GLACIAL FIRE HISTORY OF HORSETAIL FEN AND HUMAN-ENVIRONMENT INTERACTIONS IN THE TEANAWAY AREA OF THE EASTERN CASCADES, WASHINGTON __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Science Resource Management ___________________________________ by Serafina Ann Ferri February 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies -
Gateways to Art Journal for Museum and Gallery Projects 2Nd Edition Download Free
GATEWAYS TO ART JOURNAL FOR MUSEUM AND GALLERY PROJECTS 2ND EDITION DOWNLOAD FREE Debra J DeWitte | 9780500292167 | | | | | Fred Wilson The Elgin MarblesBenin BronzesEthiopian Tabots and the Rosetta Stone are among the most disputed objects in its collections, and organisations have been formed demanding the return of these artefacts to their native countries of GreeceNigeriaEthiopiaand Egypt respectively. Figures should be sized between x pixels and x pixels x 72 dpi; acceptable file types include. Tainter, and S. A list of donations to the museum, dated 31 Januaryrefers to the Hamilton bequest of a "Colossal Foot of an Apollo in Marble". Archived from the original on 26 May Fred WilsonJGM. Larson, Kay. The Wilson cabinet of curiosities from Palau is an example of pre-contact ware. Retrieved 10 July Room 23 - The famous version of the ' Crouching Venus ', Roman, c. Preface, foreword, introduction, and similar parts of a book de Montebello, P. Location within central London. Particularly valuable collections are from the Andaman and Nicobar Islands much assembled by the British naval officer Maurice PortmanSri Lanka especially through the colonial administrator Hugh NevillNorthern Thailand, south-west China, the Ainu of Hokaidu in Japan chief among them the collection Gateways to Art Journal for Museum and Gallery Projects 2nd edition the Scottish zoologist John AndersonSiberia with artefacts collected by the explorer Kate Marsden and Bassett Digby and is notable for its Sakha pieces, especially the ivory model of a summer festival at Yakutsk and the islands of South-East Asia, especially Borneo. By the last years of the 19th century, The British Museum's collections had increased to the extent that its building was no longer Gateways to Art Journal for Museum and Gallery Projects 2nd edition enough. -
London Top Attractions
LONDON TOP ATTRACTIONS Westminster Abbey Steeped in history, the pillars of this great vaulted hall stand on the final resting place of the men and women who built Britain. Its great Gothic hall continues to play a part in the formation of the kingdom, having hosted nearly every coronation since 1308. Buckingham Palace Not the prettiest royal residence, but a must-see for the glimpse it affords of the modern life of the monarchy. The opulence of the state rooms open to the public provides plenty of wow factor, and don’t forget the collection of china and carriages at the Queen’s Gallery and Royal Mews next door. St. Paul’s Cathedral No matter how many times you have been before, the scale and elegance of Sir Christopher Wren’s masterpiece never fail to take the breath away. Climb the enormous dome, one of the world’s largest, to experience the freaky acoustics of the Whispering Gallery, and higher still for fantastic views across London. Tower of London The Tower is London at its majestic, idiosyncratic best. This is truly the heart of the kingdom—with foundations dating back nine centuries, every brick tells a story, and the ax-blows and fortunes that have risen and fallen within this turreted mini-city provide an inexhaustible supply of intrigue. British Museum If you want to journey through time and space without leaving the confines of Bloomsbury, a visit to the British Museum holds hours of eye-catching artifacts from the world’s greatest civilizations, including the Elgin Marbles, the Rosetta Stone, and the Sutton Hoo treasure.