A Distant Thunder: Napoleon, Australia and the National Library
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On the Theme Science, Medicine, and Global
Submission Guidelines Collaborate with your team on your case study presentation. When it is complete, the team leader is responsible for submitting it in the Assignment Lab, or for making sure that another team member submits it. Please note that all learners should visit the assignment lab and provide feedback on at least 2 other team presentations, before the deadline. As a reminder, your presentation should: 1. Be limited to no more than 750 words 2. Engage the materials in the case studies, lectures, and text. 3. You are free to import material from outside the course, but this is not necessary and may detract you and teammates from the task. Don't go overboard! Instructions Step 1: Read the case study introduction, background information, and the primary sources below. Step 2: Work with your team to answer the challenge question for this case study. Step 3: Go to the Assignment Lab to post your response, and to read and comment on other learners' submissions. Track B, Case study 4: Charles Darwin and a new understanding of life STEP 1 Case Study Introduction Here we will focus on some of the contributions and impacts of British naturalist Charles Darwin, whose ideas profoundly shaped not only science, but every sphere of life. Darwin’s descriptions of change over time and evolution showed that life developed through increasing complexity and diversity over millions of years. This raised questions about the basis of knowledge, belief, and understanding, and challenged the idea that faith alone could lead to enlightenment. It also showed the web of interrelated life, with humans a part of the animal kingdom rather than divinely appointed. -
311 Sarah Thomas This Lavishly Illustrated Book by Australian
Book Reviews 311 Sarah Thomas, Witnessing Slavery: Art and Travel in the Age of Abolition. London: Paul Mellon Centre for Studies in British Art, 2019. xiii + 286 pp. (Cloth US$55.00) This lavishly illustrated book by Australian art historian Sarah Thomas consid- ers art by European visitors to the Americas between 1760 and 1840. Engag- ing and provocative, it deals mainly with British publications during the hey- day of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production. Thomas focuses throughout on European travelers who drew or painted “on the spot,” actually witnessing slavery and thereby establishing a particular kind of episte- mological authority. Acknowledging that images of the enslaved almost inevitably deny their subjectivity, she insists that such images, when created by eyewitnesses, nonetheless hold special value and a place in the history of art that helps us understand the ways Europeans confronted slavery and aboli- tion. Following an introductory chapter, she considers the eighteenth-century discourse of Sensibility, from philosophy to painting. Beginning with “the sym- pathetic eyewitness” epitomized by John Gabriel Stedman’s self-portrait, stand- ing over his slain Maroon foe (“’Twas Yours to fall—but Mine to feel the wound”), she quickly turns to two leitmotifs of the abolition struggle: the oft- reproduced Am I not a Man and a Brother?, perhaps best known in its Josiah Wedgwood form, and the countless-times reprinted cross-section of the Liver- pool slaver Brookes, tracing revealing histories of both. The bulk of the chapter deals with the ways abolitionism penetrated high art in Britain, considering such paintings as George Morland’s Execrable Human Traffick and John Simp- son’s The Captive Slave. -
Failure in 1813: the Decline of French Light Infantry and Its Effect on Napoleon’S German Campaign
United States Military Academy USMA Digital Commons Cadet Senior Theses in History Department of History Spring 4-14-2018 Failure in 1813: The eclineD of French Light Infantry and its effect on Napoleon's German Campaign Gustave Doll United States Military Academy, [email protected] Follow this and additional works at: https://digitalcommons.usmalibrary.org/history_cadet_etd Part of the European History Commons, and the Military History Commons Recommended Citation Doll, Gustave, "Failure in 1813: The eD cline of French Light Infantry and its effect on Napoleon's German Campaign" (2018). Cadet Senior Theses in History. 1. https://digitalcommons.usmalibrary.org/history_cadet_etd/1 This Bachelor's Thesis is brought to you for free and open access by the Department of History at USMA Digital Commons. It has been accepted for inclusion in Cadet Senior Theses in History by an authorized administrator of USMA Digital Commons. For more information, please contact [email protected]. United States Military Academy USMA Digital Commons Cadet Senior Theses in History Department of History Spring 4-14-2018 Failure in 1813: The eclineD of French Light Infantry and its effect on Napoleon's German Campaign Gustave Doll Follow this and additional works at: https://digitalcommons.usmalibrary.org/history_cadet_etd UNITED STATES MILITARY ACADEMY FAILURE IN 1813: THE DECLINE OF FRENCH LIGHT INFANTRY AND ITS EFFECT ON NAPOLEON’S GERMAN CAMPAIGN HI499: SENIOR THESIS SECTION S26 CPT VILLANUEVA BY CADET GUSTAVE A DOLL, ’18 CO F3 WEST POINT, NEW YORK 19 APRIL 2018 ___ MY DOCUMENTATION IDENTIFIES ALL SOURCES USED AND ASSISTANCE RECEIVED IN COMPLETING THIS ASSIGNMENT. ___ NO SOURCES WERE USED OR ASSISTANCE RECEIVED IN COMPLETING THIS ASSIGNMENT. -
Revisiting Darwin's Voyage", in Darwin: for the Love of Science (Eds
240 CITE: D. Catling (2009) "Revisiting Darwin's Voyage", in Darwin: For The Love of Science (Eds. A. Kelly and M. Kelly), Bristol Cultural Development Partnership, Bristol, England, pp.240-251. Revisiting Darwin’s Voyage 241 REVISITING DARWIN’S VOYAGE by David Catling ([email protected]) The kauri (Agathis australis) in Charles Darwin’s voyage around the world from 1831 to the Bay of Islands, New Zealand, is a tree of great antiquity whose 1836 on HMS Beagle is one of the greatest journeys of all ancestors arose around 135 million years ago (all photographs in this time and arguably the most important scientific expedition chapter are by the author). ever, given how it changed our fundamental view of nature. My interest in revisiting the landfalls of this voyage was sparked by a conversation some years ago. 242 Darwin: for the love of science Revisiting Darwin’s Voyage 243 A professor of English literature was boasting how students in the arts are directly exposed surveyed South America from 1826-1830. In 1828, in the desolate Magellan Straits, the to the words of the great genius, be it Shakespeare or Dante, whereas science students Beagle’s dejected captain, Pringle Stokes, committed suicide and Fitzroy was promoted to rarely read great scientists directly. Who, after all, reads Newton’s impenetrable Latin command the ship. Later, FitzRoy wrote: tomes? I disagreed: Several notable scientists have left readable accounts of their work, and none more so than Darwin. There may be metal in many of the Fuegian mountains, and I much regret that no person in the vessel was skilled in mineralogy, or at all acquainted with geology. -
Frederic Auguste Bartholdi and the Statue of Liberty
Undergraduate Review Volume 12 Issue 1 Article 5 2000 Frederic Auguste Bartholdi and the Statue of Liberty Daniel J. Carden '00 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/rev Recommended Citation Carden '00, Daniel J. (2000) "Frederic Auguste Bartholdi and the Statue of Liberty," Undergraduate Review: Vol. 12 : Iss. 1 , Article 5. Available at: https://digitalcommons.iwu.edu/rev/vol12/iss1/5 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty Ie Perfection of the Shrouded Rebellion: Re \.1aria Luis Bombal." Women writers in )ain and Spanish America. Ed. Catherine lwin Mellon P, 1993. Frederic Auguste Bartholdi Mango Street. Houston: Arte Publico P, and the Statue of Liberty :ncio y Rebeldia: Hacia una Valoracion de By DanielJ Carden Dentro de la Tradicion de Escritura ~isa Bombal: Apreciaciones Criticas. Ed. I. Tempe: Bilingual P, 1987. rouded Woman: Marriage and Its Constraints ria Luisa Bombal." Latin American Literary ith many modern art pieces, it is practically impossible ): 21-20. -
4 the Artist Travels: Augustus Earle At
© Copyrighted Material 4 The Artist Travels: Augustus Earle at Sea Sarah Thomas Augustus Earle is considered to be the first independent, professionally-trained artist to have travelled to all five continents. Between his first association with London’s Royal Academy in 1806 and his premature death in 1838, the British artist spent most of his life abroad (Hackforth-Jones 1980, 1–2).1 Yet unlike the generations of artists before him whose Grand Tour itineraries led them across the Continent, Earle spent most of his life sketching and painting in the ‘New World’—the Americas, Asia, Australasia and beyond. At a time when Britain was consolidating its global reach, and a rising leisured class was becoming increasingly curious about the world beyond Europe, Earle exemplified a new type of peripatetic artist whose role was to visualize peoples and places that were largely unfamiliar at home. Given the fact that Earle spent a great deal of time enduring the harsh conditions and tedium of shipboard life, it is perhaps not so surprising to find that this was a subject to which he returned in his watercolour sketches on a number of occasions. What is perhaps more curious is the fact that this highly unusual subject—at least for an oil painting of the period—was the one he chose to work up into a pair of highly detailed canvases for exhibition at the Royal Academy in the year before he died. Earle’s two shipboard paintings, Life in the Ocean Representing the Usual Occupations of the Young Officers in the Steerage of a British Frigate at Sea (Plate 4), and Divine Service as it is Usually Performed on Board a British Frigate at Sea (Figure 4.1) (both c.1820–1837), are among the first British oils to represent life below deck, and they do so with an attention to everyday detail that is unparalleled.2 I shall argue here that they are as resolutely modern as they are unheroic, a far cry from both the exuberant history paintings and the Dutch- inspired genre scenes which continued to dominate British art into the 1830s. -
COLMAR, Notre Passion
AgendA AGENDA 2006 DE LA VILLE DE COLMAR DE VILLE LA DE 2006 AGENDA 2006 de lA Ville de ColmAr COLMAR, notre passion Richesses du patrimoine architectural RICHESSES DU PATRIMOINE ARCHITECTURAL COLMARIEN COLMARIEN ARCHITECTURAL PATRIMOINE DU RICHESSES AGENDA 2006 DE LA VILLE COLMAR, NOTRE PASSION DE COLMAR RICHESSES DU PATRIMOINE ARCHITECTURAL EDITORIAL Colmar se livre aux visiteurs patients et attentifs, mais elle sait garder ses mystères, sa raison d’être. Des centaines de milliers de touristes arpentent ses rues chaque année, mais la ville sait sauvegarder sa vérité patrimoniale. Colmar est un magnifique laboratoire vivant pour les enseignements de l’architecture. Ses façades vibrent et les statues du célèbre Auguste Bartholdi, entre autres, ont une âme : la nuit venue, elles font d’insoup- çonnables promenades avant de regagner leur piédestal pour leur séculaire rendez-vous avec les visiteurs. Dans la «vieille» ville, les édifices anciens semblent s’appuyer les uns aux autres. Mais c’est qu’ils ont beaucoup d’histoires à se raconter, de secrets à s’échanger, de souvenirs à se murmurer. Les bâtiments sont inscrits dans la mémoire collective d’une ville dont la valeur est d’héritage, autant esthéti- que qu’architecturale. Colmar est aussi un dialogue de pierres dans lequel les mots sont un peu vains… Même l’eau est présente. Les miroirs de plus en plus nombreux pour encore plus de beauté, contemplent les paysages avec une feinte indifférence malgré l’agitation de ceux qui y cherchent le secret de toutes ces merveilles. La nuit venue, la lumière jaillit des édifices. Elle semble sculptée par l’architecture et jaillir de la fantaisie d’un peintre virtuose. -
“It's Hard to Keep Track”
―It‘s Hard to Keep Track‖: Mapping a Shifting Nation in Dylan Horrocks‘s Hicksville Hamish Clayton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature School of English, Film, Theatre & Media Studies Victoria University of Wellington 2009 Contents Acknowledgements 3 Note 4 Abstract 5 Introduction: Local and Special 6 Chapter One: Local Heroes 14 Chapter Two: Going Global 36 Chapter Three: Local Knowledge 58 Chapter Four: Art as Comics as Taonga 84 Chapter Five: Mapping Hicksville 105 Conclusion: Standing Upright Here 123 Works Cited 128 2 Acknowledgements I would like to offer special thanks to my primary supervisor, Mark Williams, whose enthusiasm for this project has been boundless. Without his friendship and guidance I would not have been able to write the thesis I wanted to write. Thanks also to Tina Barton, my Art History supervisor, for her support throughout. I would like to thank the staff of both English and Art History programmes at Victoria University for their extended support and friendship over the last five years, as well as that of my former colleagues at Victoria University‘s Student Learning Support Service. I gratefully acknowledge the financial support of the University, and the provision of a Scholarship for Masters study 2008-09. I am indebted to Dylan Horrocks, who very generously sent me copies of his comics no longer available for purchase in shops or online. Thanks also to the many friends and family who have supported me immeasurably. In particular, Stephen McDowall, whose professionalism and achievements have been an inspiration; Kirsten Reid, whose unconditional support and enthusiasm have been truly invaluable; and Rosie Howell, for her unwavering faith in me. -
Tristan Da Cunha New Books
Miles Apart New and secondhand books on the South Atlantic islands and the Antarctic Ian Mathieson, Callender House, 90, Callender Street, Ramsbottom, Lancs BL0 9DU, UK Tel: 01706-826467 E-Mail: [email protected] LIST No 37 June 2017 Ascension Page 2 Misc. Voyages, Islands and Ships Pages 20-26 St Helena Pages 3-8 Picairn Island Page 25 Napoleon & St H Pages 8-13 Falkland Islands Pages 27-32 Tristan da Cunha Pages 14-20 Antarctica Pages 32-40 Most of my business is by mail order from a private house. Callers welcome by appointment. If you are phoning, evenings and weekends are best. During the day, apologies, but you may often get the answerphone; I will try to phone you the same evening. Numbers marked with a square are newly published titles or new books re-offered at reduced prices. TERMS AND CONDITIONS OF SALE Postage: Prices include p&p in the UK. For other destinations please enquire by email Payment: New customers payment with order please. Visa and Mastercard accepted. I can accept payment in Sterling. CHEQUES SHOULD BE MADE PAYABLE TO IK MATHIESON. All cheques not payable in sterling or drawn on a UK bank account have an £8 service charge. Cash payments should be sent registered post. Payments can also be made by on line bank transfer. Account Name: I K Mathieson, Bank: First Direct, Sort Code 40-47-83. Account Number: 63832031. Please quote your name as a reference. All items can be returned within one week of sale if not satisfactory. Although I expect to maintain the price of items listed until I issue the next list, I reserve the right to alter prices of items without notice. -
Conrad Martens and Burragalong Cavern
Art Appreciation Lecture Series 2017 Site Specific: The power of place Conrad Martens and Burragalong Cavern Dr Kathleen Davidson 29/30 March 2017 Lecture summary: Conrad Martens’ landscape paintings represent some of the great masterpieces of Australian colonial art. Among the lesser-known works within Martens’ oeuvre are the paintings and drawings of caves he produced during the 1840s. Martens’ paintings of Burragalong Cavern were reviewed harshly by critics in the artist’s own time. This lecture explores Martens’ early connections with scientific figures, discoveries and practices of the day, and their influence on his approach to the cave paintings and the viewer’s reception of them. Slide list: 1. Nineteenth-century Australian Art Galleries, Art Gallery of NSW 2. Map showing Abercrombie Caves and Wellington Caves, NSW 3. Conrad Martens, Stalagmites, Burragalong Cavern, 1843, oil on cardboard, 40.6 x 53.3 cm. Art Gallery of NSW 4. a) Conrad Martens, Interior of the Burrangalong [Abercrombie] Cavern, c.1843-49, oil on canvas, 60.5 x 88.2 cm. State Library of NSW; b) Conrad Martens, [Northern Entrance] Burrangalong Cavern, Rockbridge Creek, c. 1849, oil on canvas, 42.1 x 58.7 cm. State Library of NSW; c) Conrad Martens, Stalagmite Columns at the Southern Entrance of the Burrangalong Cavern, 1843, oil on canvas, 42.1 x 58.7 cm. Art Gallery of South Australia 5. a) Maull and Polyblank, Charles Darwin, c.1855, albumen silver photograph, from the Literary and Scientific Portrait Club, 20.0 x 14.6 cm. National Portrait Gallery, London; b) Conrad Martens, On board HMS Beagle (self-portrait), June 1834, pencil on grey paper, 13.5 x 10.4cm. -
Nineteenth-Century Literary Culture and the Southern Settler Colonies
5 Augustus Earle’s pedestrian tour in New Zealand: or, get off the beach Ingrid Horrocks Dubbed the ‘wandering artist’, Augustus Earle briefly studied at the Royal Academy in London before, in the words of the Quarterly Review of 1832, he perambulated America, North and South, from Canada to Paraguay: he has passed the Alleghanies and the Andes, and made sketches of numberless cities and harbours, which subsequently, being transferred to the panorama-limners, have enlightened most of us either in Leicester Fields or the Strand. He has wandered all over India in like fashion, and brought home the materials for panoramas of Madras, Bombay, and we know not how many more places in our Eastern empire.1 During this life of global mobility, Earle also lived in New South Wales, Australia, and, most pertinently for this chapter, in Aotearoa New Zealand, writing the travel book A Narrative of Nine Months’ Residence in New Zealand, in 1827 (1832).2 Although Earle’s works were originally produced primarily for a metropolitan audience in London, they have since made him one of the most important European visual artists of Aotearoa New Zealand working immediately prior to formal colonisation, as well as a key figure in early colonial Australian art. Earle’s many sketches, watercolours, oil paint- ings, and hand-coloured lithographs of New Zealand scenes and of Maˉ ori people have become instantly recognisable to those with even a casual inter- est in the history of New Zealand, even if they could not attribute them to Earle. His prose narrative, too, was republished in the 1960s as an early contribution to New Zealand literary culture in English. -
Māori and Portraiture
RIHA Journal 0190 | 20 July 2018 Māori and Portraiture Roger Blackley Abstract Gottfried Lindauer’s Māori portraiture o ers a distin!tive exa$ple of a %i!ultural artisti! pra!ti!e in nineteent&'!entury (e) *ealand+ one servin, %ot& -uropean and indi,enous patrona,e to a de,ree t&at is unparalleled in ot&er .ritis& settler so!ieties/ 0&is essay pla!es t&e exa$ple of Lindauer into a wider !ontext of Māori ent&usias$ for and en,a,e$ent wit& t&e ,enre of portraiture+ ran,in, fro$ t&e voya,in, artists of t&e pre!olonial period to t&e e$er,en!e of t&e ‘et&nolo,i!al’ portrait in t&e later nineteent& !entury/ In !&artin, t&e evol"in, relations&ips between su%2e!ts, artists+ p&oto,rap&ers and colle!tors+ w&at do we learn a%out Māori attitudes to portraiture3 Contents Māori and Portrait Patrona,e -uropean ‘Conta!t’ 6anderin, Artists Indi,enous Response Gottfried Lindauer (ew Zealand Di eren!e3 Māori and 4ortrait 4atrona,e 819 4ortraiture was !entral to !usto$ary Māori !ulture: !arved e;,ies $e$orialised an!estors and &eroes+ )&ile s$o<ed'dried &u$an &eads for$ed portrait !olle!tions fro$ re!ent ,enerations for t&e %ene=t of t&e livin,/1 >nsurprisin,ly, t&e vivid and life'li<e realisations of -uropean portraiture found ready a!!eptan!e )it&in t&e Māori world/ In t&e Gottfried Lindauer !atalo,ue produ!ed for t&e e#&i%ition at .erlin’s Alte (ational,alerie in 2014, I su,,ested t&at (e) *ealand see$ed to %e e#!eptional a$on, t&e .ritis& settler !olonies in t&e de,ree to )&i!& -uropean artists @ and Lindauer in parti!ular @ were supported %y indi,enous