DOCSLIB.ORG

In Nature's Mirror

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Nature's Mirror F. The Elegy in Opera and Symphony In Nature’s Mirror Gluck: Orfeo ed Euridice (1762), Opening and Elysian Fields scene Filmed at the Baroque Theater of Cesky Krumlov Castle. Bejun Mehta (Orfeo). Collegium 1704, Vaclav Lucks, conductor. — https://youtu.be/5mTydAUQyYg?t=242 — https://youtu.be/5mTydAUQyYg?t=2150 The story of Orpheus was the subject of so many early operas because he was the first musician, and as another version of the basic pastoral myth of death and rebirth. Christoph Willibald Gluck (1714–87) wrote a version that differed from its predecessors in several important respects. It opens with a scene of mourning; Eurydice is already dead. And also unlike other versions, when Orpheus goes down to Hades to look for her, they send him up to the Elysian Fields, where she is living in altogether better surroundings: a pastoral version of bliss. This production I shall show is filmed in a baroque theater, and although many scenes are set backstage or under it, these two offer something close to an original baroque production. Mahler: Das Lied von der Erde (1909), mvt. 6, opening and closing. Carolyn Watkinson, BBC Philharmonic, Kurt Sanderling (conductor) — https://youtu.be/idRevTkIPts?t=2071 (Christa Ludwig with — Bernstein; no titles; more about him than her!) Gustav Mahler (1860–1911) completed this great song-symphony in 1909, between his eighth and ninth symphonies. It sets six texts from The Chinese Flute, ostensibly translated from the ancient Chinese by Hans Bethge. Much of the music is deliberately Asian in sound, but the emotion of its final movement especially—the long dying farewell to earth and its beauties—is a distilled product of late European Romanticism, heart-breaking in its loveliness. All the major artworks, together with the quoted texts, are available on my new website: http://www.brunyate.com/naturemirror/ Class 3: The Pastoral Elegy September 26, 2017 A. Et in Arcadia Ego 13. Poussin: The Funeral of Phocion (1648, Paris Louvre) How do artists address death and grieving? How do we think about 14. Ruisdael: Jewish Cemetery (c.1654, Dresden) them ourselves? Is it a consolation to think in terms of the cycles of 15. Constable: Cenotaph, Sir Joshua Reynolds (1833–36, London NG) nature, with such metaphors as autumn or evening? 16. Manet: The Funeral (1867, NY Metropolitan) 17. Bocklin: The Island of the Dead (1880, Basel) 01. Guercino: Et in Arcadia Ego (c.1620, Rome) 18. Yeats: The Swinford Funeral (1918, Walters) 02. Poussin: Et in Arcadia Ego (1638, Paris Louvre) E. Serenade: the Arts of Evening B. Stoke Poges Closing the first half of the class, the first two movements of the A group of paintings sharing similar imagery, all of which have to do Serenade for Tenor, Horn, and Strings (1943) by Benjamin Britten with the church at Stoke Poges, the original site of the Elegy Written (1913–76). The singer is Mark Padmore and the horn player Stephen in a Country Churchyard (1751) by Thomas Gray (1716–71)—and Bell. The first poem, “The day’s grown old” by Charles Cotton the site of his monument shown on the cover of this pamphlet. (1630–87), will be illustrated by pastoral scenes… 03. Gainsborough: Landscape with Cottage and Church (1771, Yale) 19. Claude: Pastoral Study (c.1648, NY Metropolitan) 04. Constable: A Church in the Trees (c.1800, Yale) 20. Gainsborough: Landscape with Cattle (c.1773, Yale) 05. Constable: Churchyard on a Hill (1833, London BM) 06. Churchyard: Stoke Poges Church (c.1840, Yale) …and the second movement, “The splendour falls on castle walls” 07. Tanner: Gray's Elegy (London, V&A) by Tennyson (1809–92), will be illustrated by a series of sketches 08. Hayes: Gray's Elegy, first stanza (Saatchi Gallery) that JMW Turner made of the castle of Ehrenbreitstein in 1841: 21. Turner: Bright Stone of Honour (1835, private collection) C. A Poetical Interlude 22–24. Turner: Ehrenbreitstein, water color sketches (1841) Since poetry plays a significant part in this course, we shall spend a few moments considering what Thomas Gray might have written, and how it shows the rightness of what he did write. Artists’ Full Names and Dates: Arnold Böcklin (1827–1901), Pieter Brueghel (1525–69), Thomas Churchyard (1798–1865), Claude Gellée, aka. Claude Lorrain (1604–82), John Constable (1776–1837), D. An Elegiac Gallery Thomas Gainsborough (1827–88), Édouard Manet (1832–83), Jean- Depending on time, a gallery of paintings from the 16th century to François Millet (1814–75), Nicolas Poussin (1594–1665), Sir Peter the 20th. The first four depict autumn or evening or both, without Paul Rubens (1577–1640), Jacob van Ruisdael (1628–92), Robin any explicit reference to elegy… Tanner (1904–88), Joseph Mallord William Turner (1775–1851), Jack Butler Yeats (1871–1957). 09. Brueghel: November, the return of the herd (1565, Vienna) 10. Rubens: Autumn Landscape, Het Steen (1636, London NG) 11. Claude: Pastoral Landscape(c.1639, NY Metropolitan) 12. Millet: Haystacks, Autumn (c.1874, NY Metropolitan) …but the remainder all contain a funeral or a tomb, using a wide variety of imagery to address their point: .
Load more

Recommended publications
  • Et in Arcadia Ego : the Pastoral Aesthetics of Suburbia in Jeffrey Eugenides' the Virgin Suicides
    Et in arcadia ego : the pastoral aesthetics of suburbia in Jeffrey Eugenides' The Virgin Suicides Autor(en): Heusser, Martin Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 20 (2007) PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-100066 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Et in Arcadia Ego: The Pastoral Aesthetics of Suburbia in Jeffrey Eugenides' The Virgin Suicides Martin Heusser Eugenides' Virgin Suicides, I will be arguing, is essentially a pastoral - suburbia being Arcadia and the memory of the deceased girls the yearning for the Golden Age.
    [Show full text]
  • Et in Arcadia Ego Mary Beard and John Henderson
    Et in Arcadia Ego Mary Beard and John Henderson Before he wrote his monument al Aeneid, Virgil produced a collection of shorter 'pastoral' poems, the Eclogues or Bucolics. These evoke a very different world from the epic adventures that led to the founding of Rome. They take us instead outside the historical world of cities, politics, and war, to a place where herdsmen sit untroubled beneath shady trees that give shelter from the midday sun, trading songs or lamenting their ill-luck in love; meanwhile, their animals rest, or take water, in the heat of the day. This idyllic setting is Virgil's 'Arcadia' – a special 'elsewhere', where the imagination can escape mundane time and tune into the original scene of singing. It is a place where minds can wander, and poets and musicians have returned there ever since, re-imagining this community where song means more than status or possessions. But at the same time Virgil pictured his idyllic world as already threatened. The city and its wars cast long shadows across the lives and songs of the herdsmen and farmers. Some, for example, face arbitrary eviction and exile; some, equally arbitrarily, are spared and even rewarded. These are decisions imposed from Rome – and far exceed the understanding of the Arcadian singers. Virgil's vision includes both the innocence of song and the encroachment of massive forces bound to destroy its delicate fragility. In the centre of the Eclogues is a poem in which two herdsmen exchange songs to mark the death of the archetypal, mythical singer, Daphnis – their inspiration.
    [Show full text]
  • WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
    WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank.
    [Show full text]
  • Nicolas Poussin Drew His Artistic Inspiration From
    Nicolas poussin drew his artistic inspiration from Continue Nicolas Poussin Rape Europe Selling Date: July 8, 2020 Auction Closed Circle Nicolas Poussin Untitled Sale Date: July 2, 2020 Auction Closed Circle Nicolas Poussin Char de triomphe Sale Date: 19 May 2020 Auction Closed Attributed to Nicolas Poussin BACCHANAL Sale Date: 27 June 2019 Auction Closed Paris from the point of view of Poussin, his visit to Paris was a disaster. After a short period of happiness as a result of the enthusiastic reception given to him by the King, Cardinal and Surintendant des Bariments, Sublet des Noyers - who agreed to put him at the head of all artistic and decorative works in the royal palaces - Poussin soon realized that the tasks he was called to perform were completely inconsistent with him : the great altars (Institute de l'Eucharist for Saint-Germain as in the Louvre), large allegorical paintings for Cardinal Richelieu (Time Revealing Truth with Envy and Discord (1640-2) Louvre; Burning Bush, Staten Kunstumsem, Copenhagen) and, in particular, the decoration of the Long Gallery of the Louvre (not completed, later destroyed). His difficulties were magnified by the hostile intrigues of the influential first artist King Simon Vue (1590-1649), another Italian art student who returned to Paris in 1627, and other artists who believed that their livelihoods were in danger of Poussin's arrival. At the end of 1642 he left Paris, ostensibly only to take his wife. However, it was clear that he had no desire to return, and the situation was soon resolved by richelieu's death, which was soon followed by the King's situation.
    [Show full text]
  • Ghastly Affair Presenter's Manual Is Intended to Be Used in Conjunction with the Ghastly Affair Player's Manual
    PRESENTER'S MANUAL A THRILLING PASTIME for Ladies and Gentlemen of an IMAGINATIVE DISPOSITION to role-play ma a!re stories of LOVE and DEATH" In l#din$ some information of an O#tra$eo#s and Startlin$ nat#re" %ritten and desi$ned !y Daniel &ames Hanley 'it( editorial ontri!#tions !y %endy Rosals)y Released #nder t(e terms of t(e Open Game Li ense" Intended for Mat#re A#dien es" Optimi*ed for s reen +ie'in$" Special Thanks to: Stan Rosalsky, Faith Bianco, John Gaunya, Jeanette Torres-Hanley, Jason Bianco, Wendy Rosalsky, Tony Clappsy, Jennifer Black-Hanley, and Willia Fischer, for playtestin!, and hours of quality ga in!# Bri!id Burke, for co entary and criticis on the te$t. Ji Kaelin, Stacey Kaelin, and Jennifer Cali, for support and encoura!e ent. '(eryone on the Troll Lord Ga es, R*Gnet, and Dra!onsfoot Forums who ga(e support, co ents, and - ost i portantly) criticis of the material throughout its e(olution% All the blo!!ers and podcasters who noticed and supported the !a e early on% All the co entators on “The 'n!ine of Oracles3 ,ho ga(e feedback and criticis % '(eryone who made the ga e 0etter by pointin! out proble s and errors in the syste and te$t. Anyone I5(e absentmindedly ne!lected to mention% '$tra Special Thanks to: Jeanette, for lo(e and support throu!hout the pro6ect. Ghastly /ffair is dedicated to the e ory of the 1Snakedaddy3, John *atrick Hanley% 't in /rcadia e!o% DISCLAIMER Ghastly Affair is meant to 0e enjoyed 0y adults who kno, the difference 0etween fantasy and reality% The author does not endorse or condone any of the follo,ing 0eha(iors: highway ro00ery, the use of controlled su0stances, e$ploring unsafe a0andoned structures, piracy, 0lack agic, ar ed re0ellion, 0anditry or 0riganda!e in !eneral, a0use of any drug, necro ancy, gra(e ro00ing, the consu ption of ercury, 0leeding to treat any disease, the drinking of hu an 0lood, or any other ille!al or potentially life-threatening acti(ity% +escription of an acti(ity for ga e purposes should not 0e construed as pro otion of that acti(ity in real life.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • Protestant Islam in Weimar Germany: Hugo Marcus and 'The Message of the Holy Prophet Muhammad to Europe'
    Marc David Baer Protestant Islam in Weimar Germany: Hugo Marcus and 'the message of the holy prophet Muhammad to Europe' Article (Accepted version) (Refereed) Original citation: Baer, Marc David (2017) Protestant Islam in Weimar Germany: Hugo Marcus and 'the message of the holy prophet Muhammad to Europe' New German Critique, 44 (2 131). pp 163-200. ISSN 0094-033X. DOI: 10.1215/0094033X-3860249 © 2017 New German Critique, Inc. This version available at: http://eprints.lse.ac.uk/67779/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final accepted version of the journal article. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Protestant Islam in Weimar Germany: Hugo Marcus and “The Message of the Holy Prophet Muhammad to Europe” In 1932, the German poet, philosopher, and political activist Hugo Marcus (1880-1966) proposed a remedy for his country’s ongoing crisis: mass conversion of Germans to Islam and the establishment of an Islamic state.
    [Show full text]
  • Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry
    Article How to Cite: Sanderson, S. 2019. Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry. Journal of British and Irish Innovative Poetry, 11(1): 12, pp. 1–27. DOI: https://doi.org/10.16995/bip.754 Published: 05 July 2019 Peer Review: This article has been peer reviewed through the double-blind process of Journal of British and Irish Innovative Poetry, which is a journal published by the Open Library of Humanities. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons. org/licenses/by/4.0/. Open Access: Journal of British and Irish Innovative Poetry is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Stewart Sanderson, ‘Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry.’ (2019) 11(1): 12 Journal of British and Irish Innovative Poetry. DOI: https://doi.org/10.16995/bip.754 ARTICLE Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry Stewart Sanderson University of Glasgow, UK [email protected] Critical responses to Peter Manson’s work often refer to him as a Scottish or Glasgow-based poet. In a review of Manson’s 2017 pamphlet Factitious Airs, Alice Tarbuck proposes that one of the key things differentiating Manson from his avant-garde contemporaries is his attentiveness to place and particularly “to Scottish speech rhythms and cultural ideas.” Nonetheless, most critical writing on Manson has sought to read his work primarily in terms of international movements in experimental poetics.
    [Show full text]
  • Metaliteracy & Theatricality in French & Italian Pastoral
    THE SHEPHERD‘S SONG: METALITERACY & THEATRICALITY IN FRENCH & ITALIAN PASTORAL by MELINDA A. CRO (Under the Direction of Francis Assaf) ABSTRACT From its inception, pastoral literature has maintained a theatrical quality and an artificiality that not only resonate the escapist nature of the mode but underscore the metaliterary awareness of the author. A popular mode of writing in antiquity and the middle ages, pastoral reached its apex in the sixteenth and seventeenth centuries with works like Sannazaro‘s Arcadia, Tasso‘s Aminta, and Honoré d‘Urfé‘s Astrée. This study seeks to examine and elucidate the performative qualities of the pastoral imagination in Italian and French literature during its most popular period of expression, from the thirteenth to the seventeenth century. Selecting representative works including the pastourelles of Jehan Erart and Guiraut Riquier, the two vernacular pastoral works of Boccaccio, Sannazaro‘s Arcadia, Tasso‘s Aminta, and D‘Urfé‘s Astrée, I offer a comparative analysis of pastoral vernacular literature in France and Italy from the medieval period through the seventeenth century. Additionally, I examine the relationship between the theatricality of the works and their setting. Arcadia serves as a space of freedom of expression for the author. I posit that the pastoral realm of Arcadia is directly inspired not by the Greek mountainous region but by the Italian peninsula, thus facilitating the transposition of Arcadia into the author‘s own geographical area. A secondary concern is the motif of death and loss in the pastoral as a repeated commonplace within the mode. Each of these factors contributes to an understanding of the implicit contract that the author endeavors to forge with the reader, exhorting the latter to be active in the reading process.
    [Show full text]
  • Sex, Lies, and Red Tape: Ideological and Political Barriers in Soviet Translation of Cold War American Satire, 1964-1988
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-07-10 Sex, Lies, and Red Tape: Ideological and Political Barriers in Soviet Translation of Cold War American Satire, 1964-1988 Khmelnitsky, Michael Khmelnitsky, M. (2015). Sex, Lies, and Red Tape: Ideological and Political Barriers in Soviet Translation of Cold War American Satire, 1964-1988 (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27766 http://hdl.handle.net/11023/2348 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca Allegorie der Übersetzung (2015) Michael G. Khmelnitsky acrylic on canvas (30.4 cm x 30.4 cm) The private collection of Dr. Hollie Adams. M. G. Khmelnitsky ALLEGORY OF TRANSLATION IB №281 A 00276 Sent to typesetting 17.II.15. Signed for printing 20.II.15. Format 12x12. Linen canvas. Order №14. Print run 1. Price 3,119 r. 3 k. Publishing House «Soiuzmedkot» Calgary UNIVERSITY OF CALGARY Sex, Lies, and Red Tape: Ideological and Political Barriers in Soviet Translation of Cold War American Satire, 1964-1988 by Michael Khmelnitsky A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH CALGARY, ALBERTA JULY, 2015 © Michael Khmelnitsky 2015 Abstract My thesis investigates the various ideological and political forces that placed pressures on cultural producers, specifically translators in the U.S.S.R., during the Era of Stagnation (1964- 1988).
    [Show full text]
  • The History of Modern Painting Volume 2
    The History of Modern Painting Volume 2 by Richard Muther The History Of Modern Painting BOOK III THE TRIUMPH OF THE MODERNS CHAPTER XVI THE DRAUGHTSMEN INASMUCH as modern art, in the beginning of its career, held commerce almost exclusively with the spirits of dead men of bygone ages, it had set itself in opposition to all the great epochs that had gone before. All works known to the history of art, from the cathedral pictures of Stephan Lochner down to the works of the followers of Watteau, stand in the closest relationship with the people and times amid which they have originated. Whoever studies the works of Dürer knows his home and his family, the Nuremberg of the sixteenth century, with its narrow lanes and gabled houses; the whole age is reflected in the engravings of this one artist with a truth and distinctness which put to shame those of the most laborious historian. Dürer and his contemporaries in Italy stood in so intimate a relation to reality that in their religious pictures they even set themselves above historical probability, and treated the miraculous stories of sacred tradition as if they had been commonplace incidents of the fifteenth century. Or, to take another instance, with what a striking realism, in the works of Ostade, Brouwer, and Steen, has the entire epoch from which these great artists drew strength and nourishment remained vivid in spirit, sentiment, manners, and costume. Every man whose name has come down to posterity stood firm and unshaken on the ground of his own time, resting like a tree with all its roots buried in its own peculiar soil; a tree whose branches rustled in the breeze of its native land, while the sun which fell on its blossoms and ripened its fruits was that of Italy or Germany, of Spain or the Netherlands, of that time; never the weak reflection of a planet that formerly had shone in other zones.
    [Show full text]