ELT Index IV Select
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
EDNA CLARKE HALL's POEM PICTURES in the EARLY 1920S
SELF-ORDERING CREATIVITY AND AN INDEPENDENT WORK SPACE: EDNA CLARKE HALL’S POEM PICTURES IN THE EARLY 1920s by KATHRYN EMMA FLEMING MURRAY A thesis submitted to the University of Birmingham for the degree of MASTERS OF PHILOSOPHY (B) in History of Art College of Arts and Law School of Languages, Cultures, Art History and Music Department of History of Art University of Birmingham January 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that the Poem Pictures made by Edna Clarke Hall (1879-1979) in the early 1920s signify new approaches to the treatment of ‘neuroses’ in British psychiatry following World War One, and contends that the artist’s biography is pertinent to understanding the production and meaning of these works. These hypotheses are demonstrated by considering Dr Henry Head’s responses to Clarke Hall when she sought his aid in 1920, following a period of emotional imbalance and physical illness. The thesis proposes that the philosophies underlying Head’s advice can be traced, via his acquaintance with psychiatrist Dr W.H.R. -
To Download the PDF File
NOTE TO USERS This reproduction is the best copy available. UMI* A New Matrix of the Arts: A History of the Professionalization of Canadian Women Artists, 1880-1914 Susan Butlin, M.A. School of Canadian Studies Carleton University, Ottawa A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy. 2008 © Susan Butlin, 2008 Library and Archives Biblioth&que et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de ('Edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your Tile Votre r6f6rence ISBN: 978-0-494-60128-0 Our file Notre r6f6rence ISBN: 978-0-494-60128-0 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimis ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
A Study of Winifred Knights, 1915-1933
A Study of Winifred Knights, 1915-1933 Rosanna Eckersley Department of Art History and World Art Studies University of East Anglia A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2015 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any formation derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Winifred Knights, 1899-1947, was a student at the Slade School of Art from 1915, where she developed a decorative manner of rhythmic, repetitive forms, one form of cautious modernism. In 1920 she was the first woman to win the Rome Prize in Decorative Painting. The award was for three years at the British School at Rome. Knights often chose to base her paintings on biblical subjects, or the lives of saints. She was not religious and I argue that these stories, which were well-known in Britain at the time, were vehicles to represent the lives of women and families in the unsettled years during and after WWI. Many women artists have depicted domestic scenes, but Knights chose the exterior and multi-figure compositions, including many self-portraits. She used these compositions to explore women‟s vulnerability, rebellion against male control, maternity and the self-sufficiency of a women‟s community. Personal material is present in all her work and much of it deals with the traumas she suffered. -
Biographical Dictionary of Kansas Artists (Active Before 1945)
Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945. -
Reconsidering Professionalism: Women, Space and Art in England, 1880-1914 Maria Patricia Quirk Bachelor of Arts (Hons 1A)
Reconsidering Professionalism: Women, Space and Art in England, 1880-1914 Maria Patricia Quirk Bachelor of Arts (Hons 1A) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2015 School of Historical and Philosophical Inquiry 1 Abstract The expansion of women’s participation in the fine and illustrative arts occurred concurrently to the professionalisation of those fields, but women’s relationship with artistic professionalism was fragile and ill defined. Their pathways towards “becoming” professional did not universally conform to the criteria and benchmarks that had come to represent the professional artist ideal. The fact that professional women artists were primarily middle-class in origin further complicated their relationship with traditional understandings of female labour; the working experiences of middle-class, female workers were difficult for their contemporaries to categorise and remain elusive today. This thesis examines what happened when middle-class women artists used their education and talent for the purposes of earning a living, rather than for pleasure and refinement. It defines what qualifications, attributes and achievements women needed to possess in order to separate themselves from the ubiquitous cultural stereotype of female amateurism, and be recognised by their peers and the broader public as professionals—that is, serious practitioners who dedicated their working lives to the production of art. The framework of professionalism is thus utilised for the purposes of assessing which of its standards and markers women had to possess in order to practice and be perceived as viable working artists. This is achieved by evaluating the usefulness and necessity of key professional mechanisms and spaces to women artists’ professional legitimacy: art schools, artistic societies, studio spaces, art dealerships, commercial galleries and publishing houses. -
Women, Art, & Paris 1880
CONFLICTED SELVES: WOMEN, ART, & PARIS 1880 – 1914 by JULIE ANNE JOHNSON A thesis submitted to the Department of History in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada November, 2008 Copyright ! Julie Anne Johnson, 2008 Abstract Scholars describe fin-de-siècle Paris as a city of dualities, and examine its past as a series of crises or a tale of burgeoning optimism and opportunity. Historians of women and gender have noted the limitations of this dualistic approach, and have explored new avenues of interpretation. Specifically, they have shown how the combination of positive and negative impulses created a dynamic space in which women could re-imagine and rearticulate themselves. While this approach illuminates the possibilities that existed for women in a complex urban landscape, it also indicates that fin-de-siècle Paris was a contested city, one fraught with challenges for women living in the French capital. If the mingling of crises and belle époque culture had stimulating results for women’s emergence into urban spaces, it had confusing and conflicting effects as well. My thesis shows how fin-de-siècle Paris was a contradictory city for women artists, at a time when both opportunities and constraints in their profession were at a premium. I examine the ways in which several notable women in the arts – painters Gwen John, Suzanne Valadon, and Romaine Brooks, sculptor Camille Claudel, and writer Rachilde – traversed this unsettling path, and evaluated their experiences through artistic representations of private life. Far from portraying the traditional sphere of domesticity, however, which was considered an important form of artistic expression among women at this time, I argue that their depictions of intimate spaces, bodies, children, and female selfhood, were complex and often ambiguous, and part of a larger attempt to grapple with the shifting nature of identity, both as women, and as professionals. -
ELT Index IV Select
ELT Index III Select Categories Articles of General Interest Reviews: Books of General Interest Bibliographies Rejoinders Special Series No. 3, 1985 Special Series No. 4, 1990 Special Series No. 5, 1991 ARTICLES OF GENERAL INTEREST Adams, Jad. “Gabriela Cunninghame Graham: Deception and Achievement in the 1890s,” 50.3 (2007), 251-68. Adams, Jad. “The Drowning of Hubert Crackanthorpe and the Persecution of Leila Macdonald,” 52.1 (2009), 6-34. Adams, Jad. “Ménie Muriel Dowie: The ‘Modern’ Woman of Choices,” 58.3 (2015), 313-40. Adams, Jad. "Netta Syrett: A Yellow Book Survivor," 62.2 (2019), 206-43. Adams, Jad. “William and Edna Clarke Hall: Private and Public Childhood, ’Your child for ever,” 49.4 (2008), 398-417. Andes, Anna. “The Evolution of Cicely Hamilton’s Edwardian Marriage Discourse: Embracing Conversion Dramaturgy,” 58.4 (2015), 502-21. Avery, Todd P. "Ethics Replaces Morality: The Victorian Legacy to Bloomsbury," 41.3 (1998), 294-316. Barron, Jonathan N. "Robert Frost in Early Twentieth Century London: Harold Monro’s Poetry and Drama and Eros," 62.2 (2019), 186- 205. Bassett, Troy J. "T. Fisher Unwin’s Pseudonym Library: Literary Marketing and Authorial Identity," 47.2 (2004), 143-60. Beckson, Karl. "After Tennyson: The Quest for a Poet Laureate," Special Series No. 4 (1990), 77-89. Bell, Bill. "Arnoldian Culture in Transition: An Early Socialist Reading," 35.2 (1992), 141-61. Bhattacharjee, Shuhita. “The Insurgent Invasion of Anti-Colonial Idols in Late-Victorian Literature: Richard Marsh and F. Anstey,” 61.1 (2018), 66–90. Binckes, Faith, and Kathryn Laing, “Irish Autobiographical Fiction and Hannah Lynch’s Autobiography of a Child,” 55.2 (2012), 195- 218.