DOCSLIB.ORG

F 2 F Issue 21.FINAL.Qxd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
F 2 F Issue 21.FINAL.Qxd Face to Face SPRING 2008 Vanity Fair Portraits Brilliant Women: 18th Century Bluestockings My Favourite Portrait by Annie Lennox Yousuf Karsh From the Director I am very pleased that we are renewing our relationship with Herbert Smith LLP as our Spring Season sponsors for 2008. This follows from our successful partnership with the law firm during our 150th Anniversary year in 2006, and before that their sponsorship of the Cecil Beaton and Lee Miller exhibitions. This spring we feature Vanity Fair Portraits: Photographs 1913–2008, which will then go on to be shown in Edinburgh, Los Angeles and Canberra. This special exhibition charts the magazine’s particular tradition of commissioning photographic portraits by some of the most respected photographers over the years, from Edward Steichen, Cecil Beaton and Man Ray in the early period, through to Annie Leibovitz and Mario Testino, who have appeared in Vanity Fair since it was re-launched in 1983. The celebrated subjects of these portraits range from Albert Einstein and Greta Garbo to Arthur Miller and Madonna. COVER AND ABOVE In March, Brilliant Women: 18th-Century Bluestockings, in the Porter Gallery, Louis Armstrong investigates the fascinating group of intellectual women – amongst them Elizabeth by Anton Bruehl, 1935 Montagu and Elizabeth Carter – who cultivated an ethos of learning and virtue in the © Condé Nast Publications Inc. / Image Courtesy National Portrait salons of London. These women were highly regarded by their contemporaries, but Gallery, Smithsonian Institution / have in some cases lost the recognition they deserve. The exhibition consists of rarely Art Resource, NY seen portraits and graphic satires, combined with personal artefacts and other items of popular culture, and evaluates how the Bluestockings redefined traditional notions This work will feature in Vanity Fair Portraits: of female achievement, attributes and, succeeded in advancing their work through Photographs 1913–2008 their use of portraiture. on display until 26 May 2008. Complementing the historical portraits from the eighteenth century is a display of Modern Muses, with twenty-one portrait photographs by Bryan Adams, commissioned by sponsor BlackBerry®, celebrating a number of influential women today including Annie Lennox, Zaha Hadid, Darcey Bussell and Kanya King. Through collaboration with the UK Film Council to encourage greater diversity in the British film industry, in April we will be displaying Want To See More of Me?, photographic portraits of black film actors by Donald MacLellan. Also in the spring the Gallery is working with Fraser James, on his ‘4 the Record’ initiative, which seeks wider recognition for the achievements of black actors whether in film, television or the theatre. From 20 March Anthony Caro Portraits will be on display in Room 32. This display was previously highlighted in the Summer 2007 issue of Face to Face, but through unforeseen problems with the shipping and installation of the bronze sculptures we are only now able to complete the project. The bronze heads of Caro’s wife Sheila are a fascinating glimpse into the figurative style of an artist who is renowned for his abstract work. The National Portrait Gallery is the first London-based organisation to receive the Arts and Business ‘Invest’ grant, for a specific project involving art workshops with young patients at hospital schools. This scheme has been made possible with the additional support of the Lehman Brothers Foundation Europe. Linked to Lehman’s sponsorship of the Pop Art Portraits exhibition, the workshops have involved several artists, such as Sir Peter Blake, spending time with children to create animated portraits. Sandy Nairne DIRECTOR I LOVE THE NATIONAL PORTRAIT GALLERY, and for This is a place where we can take an opportunity to MY FAVOURITE me, going for a visit there is always something of a look at them eye to eye. We can get up close. Through PORTRAIT treat. I love the building, its proportions and location the medium of the artist, whether via camera lens and and each time I go there, it feels like a discovery, film, or canvas, brush and paint, each portrait reveals ANNIE almost as if I’ve never been there before. One thing something about its subject. Perhaps we can glean LENNOX that does remain steadily familiar is that reassuringly a sense of their essence – through a representation solid quality, exemplified by its Victorian architecture. of an aspect of their physical form, maybe we can I’m still trying to come to terms with its modern spot their strengths or even their vulnerabilities. extension, though. We can admire, assess, recall, reminisce and then make abstract contact or connection. I was given the task of writing about one particular portrait of my choice – anything I felt responsive to. Or, perhaps, they will remain inscrutable, existing ‘That should be easy,’ I thought . but I assure you, imperviously in two-dimensional portrait form, behind it is not. the confines of glass. I started to panic. Perhaps I had bitten off more than I could assimilate! Walking methodically through each room, I felt confident that I would quickly identify my own So here I am, writing something slightly different. It is Singer and songwriter Annie personal favourite. I thought it would stand out more of an impression, a broad sweep of the place. Lennox has received numerous and proclaim loudly . ‘Hello . it is me!’. This is the space where authors, poets, painters, kings, awards throughout her long career, including the Ivor Novello The problem is that every portrait is unique and queens, princesses and princes collide with artists or Award, eight Brits including special. Each one has a story of its own to tell. I found their muses, models, social icons, politicians and pop Lifetime Achievement Award, myself thrown off-track by a plethora of questions: stars. You can encounter everyone, from Margaret three Grammys, and more Thatcher to Mandy Rice-Davies. Everybody’s there, recently, an Oscar for her work What essentially is a portrait? And what is a portrait from times past right up to the present day. I could on Lord Of The Rings. gallery anyway? What have all these people come spend hours delving into its treasures and reflecting. here looking for? And what do they think they’ll find ABOVE in all this looking? So if you want a piece about one particular portrait, Annie Lennox, 2007 just tell me WHICH ONE!? by Bryan Adams Then I got an answer. This is a place to commune with © Bryan Adams the good, the great and possibly even the notorious. Annie Lennox MODERN MUSES is an essay of 21 new portraits all rising stars as Anne Marie Duff,founder of the MOBO MODERN MUSES captured by Bryan Adams over just four days during Awards Kanya King and the artist Annie Morris. late 2007. These new portraits provide the Gallery 13 March – 15 June 2008 The sponsor of Brilliant Women, BlackBerry, has also with an ideal opportunity to complement the artists, Room 35 made possible the Modern Muses project and enabled writers and social activists featured within the Brilliant us to work with Bryan Adams to facilitate this new Commissioned by Women: 18th-Century Bluestockings exhibition with body of work. BlackBerry their counterparts similarly contributing to today’s rich social fabric. Marc Carter DISPLAY CO-ORDINATOR Historically, the term ‘muse’ has been taken to mean those women from Greek mythology who embody LEFT AND BELOW specifically the arts and inspire the processes of Dr Scilla Elworthy, 2007 creation. Yet today, the same term more loosely Annie Morris, 2007 applies to any woman from any walk of life whose by Bryan Adams successes or endeavours provides some beacon © Bryan Adams of inspiration for others – and as such this portfolio of images encompasses artists and businesswomen, actresses and campaigners, and fashion designers, models, journalists and art dealers, who individually and as a group certainly do contribute much to the society we all now live within. The portraits also aim to capture not only those at the very top of their various professions, or those that are household names, but also individuals who are creating equally inspirational energy at the beginning of their own respective careers, or within projects or initiatives that are far less commonly on the front pages or our TV screens. Consequently, the essay comprises portraits of individuals such Annie Lennox, Vivienne Westwood and Erin O’Connor; Baroness Hogg, Lady Carole Bamford and the Hon Hilary Weston; alongside such VANITY FAIR THE GALLERY HAS WORKED closely in partnership with In this exhibition we trace the idea of public image PORTRAITS Vanity Fair for the last three years to realise the across a hundred years in one publication. stunning exhibition Vanity Fair Portraits: Photographs EB: In selecting images for the exhibition what were PHOTOGRAPHS 1913–2008, which opens on 14 February 2008. the main criteria you and Terence Pepper used? 1913–2008 Terence Pepper, the Gallery’s Photographs Curator, formed a close dialogue with Vanity Fair’s David DF: There were three: is the portrait itself iconic; Until 26 May 2008 Friend (Editor of Creative Development), and the does the portrait reveal something really surprising Wolfson Gallery exhibition brings together for the first time the that in hindsight tells us a lot about the artist or the two eras of the magazine’s incomparable collection subject or the period itself; does the picture offer Admission £10 of photographic portraits. The show also celebrates a definitive insight into the photographer, the subject Concessions £9/£8 the ninety-fifth anniversary of the inaugural issue and or the time. Once we had established our selection, Free for Gallery Supporters the twenty-fifth anniversary of the magazine’s Graydon Carter and Sandy Nairne either, elaborated Sponsored by Burberry re-launch in 1983.
Load more

Recommended publications
  • Understanding the Value of Arts & Culture | the AHRC Cultural Value
    Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8.
    [Show full text]
  • Entre Classicismo E Romantismo. Ensaios De Cultura E Literatura
    Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Studies in Classicism and Romanticism 2 Studies in Classicism and Romanticism is an academic series published on- line by the Centre for English, Translation and Anglo-Portuguese Studies (CETAPS) and hosted by the central library of the Faculdade de Letras da Universidade do Porto, Portugal. Studies in Classicism and Romanticism has come into being as a result of the commitment of a group of scholars who are especially interested in English literature and culture from the mid-seventeenth to the mid- nineteenth century. The principal objective of the series is the publication in electronic format of monographs and collections of essays, either in English or in Portuguese, with no pre-established methodological framework, as well as the publication of relevant primary texts from the period c. 1650–c. 1850. Series Editors Jorge Bastos da Silva Maria Zulmira Castanheira Entre Classicismo e Romantismo. Ensaios de Cultura e Literatura Organização Jorge Bastos da Silva Maria Zulmira Castanheira Studies in Classicism and Romanticism 2 FLUP | CETAPS, 2013 Editorial 2 Sumário Apresentação 4 Maria Luísa Malato Borralho, “Metamorfoses do Soneto: Do «Classicismo» ao «Romantismo»” 5 Adelaide Meira Serras, “Science as the Enlightened Route to Paradise?” 29 Paula Rama-da-Silva, “Hogarth and the Role of Engraving in Eighteenth-Century London” 41 Patrícia Rodrigues, “The Importance of Study for Women and by Women: Hannah More’s Defence of Female Education as the Path to their Patriotic Contribution” 56 Maria Leonor Machado de Sousa, “Sugestões Portuguesas no Romantismo Inglês” 65 Maria Zulmira Castanheira, “O Papel Mediador da Imprensa Periódica na Divulgação da Cultura Britânica em Portugal ao Tempo do Romantismo (1836-1865): Matérias e Imagens” 76 João Paulo Ascenso P.
    [Show full text]
  • Reviews a Congenial Figure
    unconventional deist Mary Wollstonecraft, Reviews a congenial figure. A woman writer who did so little to forward the agenda of contemporary feminism was, apparently, best consigned to silence. But by ignoring Anne Stott, Hannah More: The First More, the scholars of this period Victorian. Oxford University Press, postponed the discovery that her 2003. Pp. 384. £25.00. reputation as a sanctimonious conservative ISBN 0199245320. is not fully deserved. More’s first biographer, William Though an important figure in her own Roberts, whose Memoirs of the Life and time, Hannah More (1745-1833) was Correspondence of Mrs. Hannah More ignored by the generation of feminist appeared in the year after her death, bears scholars who began, during the 1970s, to much responsibility for the distorted rediscover forgotten or depreciated picture of More, which, as Stott notes, was women writers. The degree to which these until very recently ‘firmly embedded in scholars overlooked More is revealed by the historiography’ concerning her (p. ix). the fact that no full-length biography Roberts felt free to alter More’s appeared between 1952, when M. G. correspondence to fit his view of the way Jones’s sensible but rather perfunctory that the founding mother of the Hannah More was published, and the Evangelical movement ought to have appearance of Anne Stott’s Hannah More: written. Since few of More’s letters were The First Victorian in 2003. Yet More in print in any other form, Roberts’s was not only the most widely-read British portrait of More became the standard woman writer of her era, the author of picture, but in the early twentieth century plays, conduct books, tracts for the poor, a that picture, which corresponded to its best-selling novel and a variety of creator’s ideal of pious femininity, devotional works, but also a historical appeared less flattering.
    [Show full text]
  • Adopting a Chinese Mantle: Designing and Appropriating Chineseness 1750-1820
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Adopting a Chinese Mantle Designing and Appropriating Chineseness 1750-1820 Newport, Emma Helen Henke Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Adopting a Chinese Mantle: Designing and Appropriating Chineseness 1750-1820 Emma Helen Henke Newport King’s College London Thesis submitted for the degree of Doctor of Philosophy in English Research 1 Abstract The thesis examines methods of imagining and appropriating China in Britain in the period 1750 to 1820.
    [Show full text]
  • Mary Wollstonecraft and Hannah More: Politics, Feminism and Modern Critics Claire Grogan
    Document generated on 09/26/2021 4:58 p.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Mary Wollstonecraft and Hannah More: Politics, Feminism and Modern Critics Claire Grogan Volume 13, 1994 URI: https://id.erudit.org/iderudit/1012525ar DOI: https://doi.org/10.7202/1012525ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Grogan, C. (1994). Mary Wollstonecraft and Hannah More: Politics, Feminism and Modern Critics. Lumen, 13, 99–108. https://doi.org/10.7202/1012525ar All Rights Reserved © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1994 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 8. Mary Wollstonecraft and Hannah More: Politics, Feminism and Modern Critics Miss Berry's diary entry for Tuesday 2 April 1799 reads: In the many hours I have spent alone this last week, I have been able... to go entirely through Hannah More, and Mrs Woolstonecroft [sic] immediately after her.
    [Show full text]
  • 73Rd-Nominations-Facts-V2.Pdf
    FACTS & FIGURES FOR 2021 NOMINATIONS as of July 13 does not includes producer nominations 73rd EMMY AWARDS updated 07.13.2021 version 1 Page 1 of 20 SUMMARY OF MULTIPLE EMMY WINS IN 2020 Watchman - 11 Schitt’s Creek - 9 Succession - 7 The Mandalorian - 7 RuPaul’s Drag Race - 6 Saturday Night Live - 6 Last Week Tonight With John Oliver - 4 The Marvelous Mrs. Maisel - 4 Apollo 11 - 3 Cheer - 3 Dave Chappelle: Sticks & Stones - 3 Euphoria - 3 Genndy Tartakovsky’s Primal - 3 #FreeRayshawn - 2 Hollywood - 2 Live In Front Of A Studio Audience: “All In The Family” And “Good Times” - 2 The Cave - 2 The Crown - 2 The Oscars - 2 PARTIAL LIST OF 2020 WINNERS PROGRAMS: Comedy Series: Schitt’s Creek Drama Series: Succession Limited Series: Watchman Television Movie: Bad Education Reality-Competition Program: RuPaul’s Drag Race Variety Series (Talk): Last Week Tonight With John Oliver Variety Series (Sketch): Saturday Night Live PERFORMERS: Comedy Series: Lead Actress: Catherine O’Hara (Schitt’s Creek) Lead Actor: Eugene Levy (Schitt’s Creek) Supporting Actress: Annie Murphy (Schitt’s Creek) Supporting Actor: Daniel Levy (Schitt’s Creek) Drama Series: Lead Actress: Zendaya (Euphoria) Lead Actor: Jeremy Strong (Succession) Supporting Actress: Julia Garner (Ozark) Supporting Actor: Billy Crudup (The Morning Show) Limited Series/Movie: Lead Actress: Regina King (Watchman) Lead Actor: Mark Ruffalo (I Know This Much Is True) Supporting Actress: Uzo Aduba (Mrs. America) Supporting Actor: Yahya Abdul-Mateen II (Watchmen) updated 07.13.2021 version 1 Page
    [Show full text]
  • THE RECEPTION of MONTAGU's and BARBAULD's WORKS in the WESTMINSTER MAGAZINE1 Mónica Amenedo Costa2
    Mónica Amenedo Costa The Reception of Montagu’s and Barbauld’s Works 87-100 THE RECEPTION OF MONTAGU’S AND BARBAULD’S WORKS IN THE WESTMINSTER MAGAZINE1 Mónica Amenedo Costa2 The Reception of Montagu’s and Barbauld’s Works in The Westminster Magazine Abstract: Eighteenth-century women took an active role in the field of British cultural production. At that time, periodicals were of value in providing information about literary figures and their works. This paper examines the representation of Elizabeth Montagu and Anna Letitia Barbauld in The Westminster Magazine. The main emphasis is on how these female authors were perceived and presented to the public and on how their contribution to the literary sphere was covered in the magazine. A further aim of the study is to establish the importance of periodical publications as a powerful influence on reader’s opinions and perceptions. Key words: Great Britain, eighteenth century, periodical publications, gender studies. La recepción de Montagu y Barbauld en The Westminster Magazine Resumen: Las mujeres del siglo XVIII desempeñaron un papel activo en la producción cultural británica. En aquel momento, algunas publicaciones periódicas eran de gran valor, especialmente a la hora de proporcionar información sobre autores y sus obras. Este documento examina la representación de Elizabeth Montagu y de Anna Letitia Barbauld en The Westminster Magazine. El énfasis principal recae en cómo se percibieron y presentaron al público estas dos autoras y en cómo se dio cobertura a su contribución al ámbito literario. Además, se hace hincapié en la influencia de este tipo de publicaciones en las opiniones y percepciones del lector.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-1-107-01316-2 - The Cambridge Companion to Women’s Writing in Britain, 1660–1789 Edited by Catherine Ingrassia Frontmatter More information the cambridge companion to women’s writing in britain, 1660–1789 Women writers played a central role in the literature and culture of eighteenth- century Britain. Featuring essays on female writers and genres by leading scho- lars in the field, this Companion introduces readers to the range, significance, and complexity of women’s writing across multiple genres in Britain between 1660 and 1789. Divided into two parts, the Companion first discusses women’s participation in print culture, featuring essays on topics such as women and popular culture, women as professional writers, women as readers and writers, and place and publication. Additionally, Part I explores the ways that women writers crossed generic boundaries. The second part contains chapters on many of the key genres in which women wrote, including poetry, drama, fiction (early and later), history, the ballad, periodicals, and travel writing. The Companion also provides an introduction surveying the state of the field, an integrated chronology, and a guide to further reading. catherine ingrassia is Professor of English at Virginia Commonwealth University in Richmond, Virginia. She is the author of Authorship, Commerce, and Gender in Eighteenth-Century England: A Culture of Paper Credit (Cambridge, 1998); editor of a critical edition of Eliza Haywood’s Anti- Pamela and Henry Fielding’s Shamela (2004); and co-editor of A Companion to the Eighteenth-Century Novel and Culture (2005) and the anthology British Women Poets of the Long Eighteenth Century (2009).
    [Show full text]
  • Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
    English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath.
    [Show full text]
  • The Life of the Female Mind: Hester Mulso Chapone and the Gendered Rhetoric of Experience
    The Life of the Female Mind: Hester Mulso Chapone and the Gendered Rhetoric of Experience Bethany Mannon Abstract: This article studies the writings of Hester Mulso Chapone (1727-1801) a prolific member of the late-eighteenth century Bluestocking circle. Working within genres traditionally available to women, most notably the conversational rhetoric of letters, Chapone advocates for an expanded social role and rhetorical education for young women. These letters later circulated publicly as Letters on Filial Obedience (1751) and Letters on the Improvement of the Mind (1773). Chapone’s participation in a tradition of feminist writing deserves attention be- cause of her success foregrounding personal experience as a source of authority and deploying personal writing to persuade, inform, and confront prevailing power structures. Keywords: Conversational Rhetoric, Feminist Rhetoric, Life Writing, Bluestockings Hester Mulso Chapone (1727-1801) wrote prolifically in the eighteenth century and, together with the writers Elizabeth Montagu, Catharine Macaulay, Charlotte Lennox, Elizabeth Carter, Sarah Scott, Hannah More, and Frances Burney, influenced British intellectual culture. A member of this Bluestocking generation, Chapone was known during her life for her essays, letters, conver- sation, poetry, and advice on the education of young women. She maintained a reputation as an intellectual moralist into the nineteenth century, as her writings continued to be widely printed and read. Chapone worked within the genres of letters and conduct books—traditionally accessible to women—but expanded those genres to confront eighteenth-century notions of virtue and education. Her Letters on Filial Obedience (1751) and Letters on the Improvement of the Mind (1773) foreground her youth and femininity; she performs a Peitho Journal: Vol.
    [Show full text]
  • The Penniless Pilgrimage
    The Penniless Pilgrimage Return to Renascence Editions The Penniless Pilgrimage. John Taylor, the Water-Poet. This Renascence Edition was transcribed by Risa Stephanie Bear, January, 2008, from the text as found in Works of John Taylor, The Water Poet, Ed. Charles Hindley, London: Reeves & Turner, 1876. Content unique to this presentation is copyright © 2008 The University of Oregon. For nonprofit and educational uses only. Send comments and corrections to the publisher, risasb[at]gmail.com T H E P E N N Y L E S PILGRIMAGE, O R The Money-lesse perambulation, of Iohn Taylor, Alias the Kings Majesties Water-Poet. HOW HE TRAVAILED ON FOOT From London to Edenborough in Scotland, not carrying any Money to or fro, neither Begging, Borrow- ing, or Asking Meate, drinke or Lodging. With his Description of his Entertainment in all places of his Iourney, and a true Report http://uoregon.edu/%7Erbear/taylor2.html (1 of 33)1/7/2008 4:16:41 AM The Penniless Pilgrimage of the vnmatchable Hunting in the Brea of Marre and Badenoch in Scotland. With other Obseruations, some serious and worthy of Memory, and some merry and not hurtfull to be Remembred. Lastly that (which is Rare in a Trauailer) all is true. L O N D O N Printed by Edw. Allde, at the charges of the Author. 1618 TO THE TRULY NOBLE AND RIGHT HONORABLE LORD GEORGE MAR- quis of Buckingham, Viscount Villiers, Baron of Whaddon, Justice in Eyre of all his Majesty's Forests, Parks, and Chases beyond Trent, Master of the Horse to his Majesty, and one of the Gentle- men of his Highness Royal Bed-Chamber, Knight of the most Noble Order of the Garter, and one of his Majesty's most Honorable Privy Council of both the Kingdoms of England and Scotland.
    [Show full text]
  • Rulers of Opinion Women at the Royal Institution of Great Britain, 1799
    Rulers of Opinion Women at the Royal Institution of Great Britain, 1799-1812 Harriet Olivia Lloyd UCL Submitted for the Degree of Doctor of Philosophy in History of Science 2018 1 I, Harriet Olivia Lloyd, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This thesis examines the role of women at the Royal Institution of Great Britain in its first decade and contributes to the field by writing more women into the history of science. Using the method of prosopography, 844 women have been identified as subscribers to the Royal Institution from its founding on 7 March 1799, until 10 April 1812, the date of the last lecture given by the chemist Humphry Davy (1778- 1829). Evidence suggests that around half of Davy’s audience at the Royal Institution were women from the upper and middle classes. This female audience was gathered by the Royal Institution’s distinguished patronesses, who included Mary Mee, Viscountess Palmerston (1752-1805) and the chemist Elizabeth Anne, Lady Hippisley (1762/3-1843). A further original contribution of this thesis is to explain why women subscribed to the Royal Institution from the audience perspective. First, Linda Colley’s concept of the “service élite” is used to explain why an institution that aimed to apply science to the “common purposes of life” appealed to fashionable women like the distinguished patronesses. These women were “rulers of opinion,” women who could influence their peers and transform the image of a degenerate ruling class to that of an élite that served the nation.
    [Show full text]