Introduction and Research State
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Ġstanbul Teknġk Ünġversġtesġ Sosyal
ĠSTANBUL TEKNĠK ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ ĠNGĠLĠZ SANAT DERGĠLERĠNDE TÜRK SANATI (1903-2010 MAYIS) : KĠTAP TANITIM YAZILARI VE MAKALELER ÜZERĠNE GENEL BĠR DEĞERLENDĠRME YÜKSEK LĠSANS TEZĠ Neslihan DOĞAN Anabilim Dalı : Sanat Tarihi Programı : Sanat Tarihi Tez DanıĢmanı: Doç. Dr. Aygül AĞIR HAZĠRAN 2010 ĠSTANBUL TEKNĠK ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ ĠNGĠLĠZ SANAT DERGĠLERĠNDE TÜRK SANATI (1903-2010 MAYIS): KĠTAP TANITIM YAZILARI VE MAKALELER ÜZERĠNE GENEL BĠR DEĞERLENDĠRME YÜKSEK LĠSANS TEZĠ Neslihan DOĞAN (402941020) Tezin Enstitüye Verildiği Tarih : 26 Nisan 2010 Tezin Savunulduğu Tarih : 11 Haziran 2010 Tez DanıĢmanı : Doç. Dr. Aygül AĞIR (ĠTÜ) Diğer Jüri Üyeleri : Doç. Dr. Zeynep KUBAN (ĠTÜ) Yrd. Doç. Dr. Tarkan OKÇUOĞLU(ĠÜ) HAZĠRAN 2010 ÖNSÖZ Bu yüksek lisans tez çalışmasında İngilizlerin gözünden Türk sanatını incelemek amaçlanmaktadır. Bu döneme kadar akademik çalışmalarda Türk Sanatı farklı şekillerde ortaya konmuş ve değerli çalışmalar yapılmıştır. Batılı yabancı uzmanlar ve araştırmacılar tarafından yapılan birçok değerli araştırmalar günümüze kadar gelmistir. Osmanlı İmparatorluğu döneminden bu yana dünyadaki en büyük imparatorluklardan biri olan Britanya Krallığı ile geçmişten günümüze politik ilişkiler devam etmektedir. Bu tez sadece Britanya Krallığı olarakda adlandırılan İngiltere‟deki yayınevlerine ait İngiliz Sanat Dergileri ve bu dergilerde yayınlanan kitap tanıtım yazıları ve makalelerin incelenmesi ve değerlendirilmesi yolu ile bu dergilerdeki Türk Sanatı çalışmalarına odaklanmaktadır. Bu çalışmada -
George Herbert's Restlessness: Spiritual Fulfillment Or Spiritual Estrangement?
UNLV Retrospective Theses & Dissertations 1-1-2002 George Herbert's restlessness: Spiritual fulfillment or spiritual estrangement? AmiJo Comeford University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Comeford, AmiJo, "George Herbert's restlessness: Spiritual fulfillment or spiritual estrangement?" (2002). UNLV Retrospective Theses & Dissertations. 1480. http://dx.doi.org/10.25669/52f0-29aj This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis 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 Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. GEORGE HERBERT’S RESTLESSNESS: SPIRITUAL FULFILLMENT OR SPIRITUAL ESTRANGEMENT? by AmiJo Comeford Bachelor of Arts Southern Utah University 2000 Master of Arts University of Nevada, Las Vegas 2003 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree in English Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2003 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1414521 Copyright 2003 by Comeford, AmiJo All rights reserved. UMI UMI Microform 1414521 Copyright 2003 by ProQuest Information and Learning Company. -
Unlocking Eastlake Unlocking Eastlake
ng E nlocki astlak U e CREATED BY THE YOUNG EXPLAINERS OF PLYMOUTH CITY MUSEUM AND ART GALLERY No. 1. ] SEPTEMBER 22 - DECEMBER 15, 2012. [ One Penny. A STROKE OF GENIUS. UNLOCKING EASTLAKE UNLOCKING EASTLAKE It may be because of his reserved nature that Staff at the City Museum and Art Gallery are organising a range of events connected to the Eastlake is not remembered as much as he exhibition, including lunchtime talks and family-friendly holiday workshops. INTRODUCING deserves to be. Apart from securing more Visit www.plymouth.gov.uk/museumeastlake to stay up to date with what’s on offer! than 150 paintings for the nation, Eastlake was a key figure in helping the public gain like to i uld ntro a better understanding of the history of wo d uc WALKING TRAILS e e EASTLAKE western art. Through detailed catalogues, W THE simpler ways of picture display, and the Thursday 20th September 2012: : BRITISH ART’S PUBLIC SERVANT introduction of labels enabling free access to Grand Art History Freshers Tour information, Eastlake gave the us public art. YOUNG EXPLAINERS A chance for Art History Freshers to make friends as well as see what lmost 150 years after his Article: Laura Hughes the Museum and the Young Explainers death, the name of Sir Charles Children’s Actities / Map: Joanne Lees have to offer. The tour will focus on UNLOCKING EASTLAKE’S PLYMOUTH Eastlake has failed to live up to Editor: Charlotte Slater Eastlake, Napoleon and Plymouth. the celebrity of his legacy. Designer: Sarah Stagg A Illustrator (front): Alex Hancock Saturday 3rd November 2012: Even in his hometown of Plymouth, blank faces During Eastlake’s lifetime his home city Illustrator (inside): Abi Hodgson Lorente Eastlake’s Plymouth: usually meet the question: “Who is Sir Charles of Plymouth dramatically altered as it A Family Adventure Through Time Eastlake?” Yet this cultural heavyweight was transformed itself from an ancient dockland Alice Knight Starting at the Museum with interactive acknowledged to be one of the ablest men of to a modern 19th century metropolis. -
Richard Hooker
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com 2,or. - Qºbe (5teat Qbutchmen 56tíč3 EDITED by VERNON STALEY RICHARD HOOKER ** - - - ---- -- ---- - -- ---- ---_ RICHARD HOOKER. Picture from National Portrait Gallery, by perm 13.5 to ºr 0. 'f Macmillan & Co. [Frontispiece. ICHARD as at HOOKER at By VERNON STALEY PROVOST OF THE CATHEDRAL CHURCH of ST. ANDREW, INVERNESS ... • * * * LONDON: MASTERS & CO., LTD. 1907 78, NEW BOND STREET, w. \\ \ \ EDITOR'S PREFACE It has been recently said by one accustomed to weigh his words, “I do not think it can be doubted that in the early years of Queen Elizabeth a large part, numerically the larger part, of the clergy and laity who made up the Church of England was really Catholic at heart, though the Reformers made up for deficiency of numbers by energy and force of conviction.” And again, “When Elizabeth came to the throne, the nation was divided between a majority of more or less lukewarm Catholics no longer to be called Roman, and a minority of ardent Protestants, who were rapidly gaining—though they had not quite gained—the upper hand. The Protestantism generally was of a type current in South West Germany and Switzerland, but the influence of Calvin was increasing every day.” Dr. Sanday here uses the term “Catholics,” in the * Dr. Sanday, Minutes of Evidence taken before The Royal Com †: on Ecclesiastical Discipline, 1906. Vol. III. p. 20, §§ 16350, V b 340844 vi EDITOR'S PREFACE sense of those who were attached to the old faith and worship minus certain exaggerations, but who disliked the Roman interference in England. -
Eastlake's Scholarly and Artistic Achievements Wednesday 10
Eastlake's Scholarly and Artistic Achievements Wednesday 10 October 2012 Lizzie Hill & Laura Hughes Overview I will begin this Art Bite with a quotation from A Century of British Painters by Samuel and Richard Redgrave, who refer to Eastlake as one of "a few exceptional painters who have served the art they love better by their lives than their brush" . This observation is in keeping with the norm of contemporary views in which Eastlake is first and foremost seen as an art historian and collector. However, as a man who began his career as a painter, it seems it would be interesting to explore both of these aspects of his life. Therefore, this Art Bite will be examining the validity of this critique by evaluating Eastlake's artistic outputs and scholarly achievements, and putting these two aspects of his life in direct relation to each other. By doing this, the aim behind this Art Bite is to uncover the fundamental reason behind Eastlake's contemporary and historical reputation, and ultimately to answer; - What proved to be Eastlake's best weapon in entering the Art Historical canon: his brain or his brush? Introduction So, who was Sir Charles Lock Eastlake? To properly be able to compare his reputation as an art historian versus being a painter himself, we need to know the basic facts about the man. A very brief overview is that Eastlake was born in Plymouth in 1793 and from an early age was determined to be a painter. He was the first student of the notable artist Benjamin Haydon in January 1809 and received tuition from the Royal Academy schools from late 1809. -
“Making Church of England Poetical” Ephraim and the Oxford Movement
Hugoye: Journal of Syriac Studies, Vol. 2.1, 111–129 © 1999 [2010] by Beth Mardutho: The Syriac Institute and Gorgias Press “MAKING CHURCH OF ENGLAND POETICAL” EPHRAIM AND THE OXFORD MOVEMENT GEOFFREY ROWELL BISHOP OF BASINGSTOKE BISHOPSWOOD END, KINGSWOOD RISE ENGLAND [1] In 1966 Donald Allchin gave a paper at an Oxford symposium entitled “The theological vision of the Oxford Movement,” in which he explored the important unpublished series of lectures by Pusey dating from 1836, entitled “On Types & Prophecies.” A footnote to the published volume of the conference papers acknowledges with gratitude Robert Murray’s comment about the Semitic quality of Pusey’s thought, suggesting that it was reminiscent of the Syrian Fathers, even more than the Greek. Allchin notes there that Father R. M. Benson, a close disciple of Pusey and the founder of the The Society of St. John the Evangelist (“the Cowley Fathers”), the first religious community for men in the Church of England, was also a theologian who “was first of all a Hebraist, and then a patristic scholar.” This same footnote contains the words: “The possibility of a direct influence of St. Ephrem the Syrian on Pusey would be worth investigating.”1 This might be regarded as the starting-point for the present paper. 1 A. M. Allchin, “The theological vision of the Oxford Movement,” in J. Coulson and A.M. Allchin (eds.), The Rediscovery of Newman: An Oxford Symposium, (London, 1967) 50–75, p. 69, note 1. 111 112 Geoffrey Rowell [2] The title, “Making the Church of England poetical,” is an allusion -
The Tractarians' Political Rhetoric
Marshall University Marshall Digital Scholar English Faculty Research English 9-2008 The rT actarians' Political Rhetoric Robert Ellison Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/english_faculty Part of the History of Religions of Western Origin Commons, Literature in English, British Isles Commons, and the Rhetoric Commons Recommended Citation Ellison, Robert H. “The rT actarians’ Political Rhetoric.” Anglican and Episcopal History 77.3 (September 2008): 221-256. This Article is brought to you for free and open access by the English at Marshall Digital Scholar. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. “The Tractarians’ Political Rhetoric”1 Robert H. Ellison Published in Anglican and Episcopal History 77.3 (September 2008): 221-256 On Sunday 14 July 1833, John Keble, Professor of Poetry at the University of Oxford,2 preached a sermon entitled “National Apostasy” in the Church of St Mary the Virgin, the primary venue for academic sermons, religious lectures, and other expressions of the university’s spiritual life. The sermon is remembered now largely because John Henry Newman, who was vicar of St Mary’s at the time,3 regarded it as the beginning of the Oxford Movement. Generally regarded as stretching from 1833 to Newman’s conversion to Rome in 1845, the movement was an effort to return the Church of England to her historic roots, as expressed in 1 Work on this essay was made possible by East Texas Baptist University’s Faculty Research Grant program and the Jim and Ethel Dickson Research and Study Endowment. -
New Arrivals February 2020
1 New Arrivals February 2020 Windows Booksellers 199 West 8th Ave., Suite 1 Eugene, OR 97401 USA Phone: (800) 779-1701 or (541) 485-0014 * Fax: (541) 465-9694 [email protected] * http://www.windowsbooks.com Monday - Friday: 10:00 AM to 5:00 PM, Pacific time (phone & in-store) Saturday: By Appointment Only, Pacific time (in-store only- phone not answered). Catalog listings are formatted as follows: Item No. Author Title Publisher No. of Pages Condition Binding Year Cost ABBREVIATIONS FOR BINDING: dj= hardcover w/dustjacket hc= hardcover w/out dustjacket L= full or half leather pb = paperback Re-= re-bound, usually in buckram V=vinyl or leatherette ABBREVIATIONS FOR CONDITION: If no condition is noted, you may assume the book is in very good to fine condition. Our abbreviations used to describe defects are as follows: As is= condition is poor; details available upon request br= broken binding ch= chipped or torn (usually refers to dust jacket condition) Fx= foxing highlt= highlighting m= musty mks or ul= underlining, highlighting, or marginalia pncl= pencil marks S or st = stained or grubby sh= shaken or weak hinges sl= slight v= very wr or wrn= worn (usually in reference to exterior) wrp= warped X or XL= ex- library Y or yellow = yellowed pages OUR TERMS: We accept Visa, MasterCard, American Express, Discover, and PayPal. Available books that you have requested will be reserved for 1 business day after our order confirmation, to allow time for payment arrangements. Shipping charge is based on estimated final weight of package, and calculated at the shipper's actual cost, plus $1.00 handling per package. -
An Eirenicon
THE CHURCH OF ENGLAND A PORTION OF CHRIST’S ONE HOLY CATHOLIC CHURCH, AND A MEANS OF RESTORING VISIBLE UNITY. AN EIRENICON, In a Letter TO THE AUTHOR OF “THE CHRISTIAN YEAR.” BY E. B. PUSEY, D.D., REGIUS PROFESSOR OF HEBREW, AND CANON OF CHRIST CHURCH, OXFORD. NEW YORK: D. APPLETON AND COMPANY, 1866 Project Canterbury AD 2003 An Eirenicon, by Edward Bouverie Pusey (1866) MY DEAREST FRIEND, You think that, Dr. Manning’s last letter having been addressed to myself, it is desirable that I should in some way reply to it. It would cost me much, not to undertake any task which you might wish me to essay. You know how long it has been my wish to part with all controversy, and to consecrate the evening of my life to the unfolding of some of the deep truths of God’s Holy Word, as God might enable me, by aid of those whom He has taught in times past. This employment, and practical duties which God has brought to me, were my ideal of the employments of the closing years of a laborious life. The inroad made upon the Gospel by unbelievers, or half-believers, compelled me in part to modify this my hope. Still, since there is a common foe, pressing alike upon all who believe in Jesus, I the more hoped, at least, to be freed from any necessity of controversy with any who hold the Catholic faith. The recent personal appeal of Dr. Manning to myself seems, as you and other friends think, to call for an exception to this too; yet, since “the night cometh when no man can work,” I trust that I shall not be thought to shrink from duty, if, hereafter, I should maintain a silence, in order to give myself to that which seems to me more especially my calling. -
The Canterbury Association
The Canterbury Association (1848-1852): A Study of Its Members’ Connections By the Reverend Michael Blain Note: This is a revised edition prepared during 2019, of material included in the book published in 2000 by the archives committee of the Anglican diocese of Christchurch to mark the 150th anniversary of the Canterbury settlement. In 1850 the first Canterbury Association ships sailed into the new settlement of Lyttelton, New Zealand. From that fulcrum year I have examined the lives of the eighty-four members of the Canterbury Association. Backwards into their origins, and forwards in their subsequent careers. I looked for connections. The story of the Association’s plans and the settlement of colonial Canterbury has been told often enough. (For instance, see A History of Canterbury volume 1, pp135-233, edited James Hight and CR Straubel.) Names and titles of many of these men still feature in the Canterbury landscape as mountains, lakes, and rivers. But who were the people? What brought these eighty-four together between the initial meeting on 27 March 1848 and the close of their operations in September 1852? What were the connections between them? In November 1847 Edward Gibbon Wakefield had convinced an idealistic young Irishman John Robert Godley that in partnership they could put together the best of all emigration plans. Wakefield’s experience, and Godley’s contacts brought together an association to promote a special colony in New Zealand, an English society free of industrial slums and revolutionary spirit, an ideal English society sustained by an ideal church of England. Each member of these eighty-four members has his biographical entry. -
The National Gallery Review of The
TH E April – March NATIONAL GALLEY NATG028_P0001EDngReview2012_13August.indd 1 14/08/2012 14:22 NATG028_P0002EDngReview2012_21August.indd 2 21/08/2012 09:43 TH E NATIONAL GALLEY April – March NATG028_P0002EDngReview2012_21August.indd 3 21/08/2012 09:43 Contents Introduction 5 Director’s Foreword 6 Sir Denis Mahon (1910–2011) 7 Acquisitions 12 Loans 18 Conservation 28 Framing 34 Exhibitions and Displays 38 Education 50 Scientifi c Research 54 Research and Publications 58 Private Support of the Gallery 62 Trustees and Committees of the National Gallery Board 66 Financial Information 66 National Gallery Company Ltd 68 Cracks and Age in Paintings 70 For a full list of loans, staff publications and external commitments between April 2011 and March 2012, see www.nationalgallery.org.uk/about-us/organisation/ annual-review NATG028_P0004EDngReview2012_13August.indd 4 14/08/2012 14:26 – – will be remembered as a historic year for followed by donations to the National Gallery the National Gallery, and not least as the year in from many of our major supporters, whose which we enjoyed our most successful exhibition generosity is acknowledged elsewhere in this to date, in the form of Leonardo da Vinci: Painter at Review. We also acknowledge with thanks the the Court of Milan. The exhibition, which brought contribution of the Duke of Sutherland, who together for the fi rst time Leonardo’s two versions agreed to a reduction in the originally agreed of his great masterpiece The Virgin of the Rocks and price, to make the purchase possible. received almost universal critical acclaim, saw the In order to secure the acquisition, the National public queuing for admittance in Trafalgar Square Gallery Board took the wholly unprecedented step from the early hours of the morning. -
Národní Galerie V Čr a Uk
Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Veřejná ekonomika INSTITUCIONÁLNÍ KOMPARACE KONTINENTÁLNÍHO A ANGLOAMERICKÉHO MODELU: NÁRODNÍ GALERIE V ČR A UK Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Diplomová práce Vedoucí diplomové práce: Autor: Ing. František Svoboda, Ph.D. Bc. Veronika Králíková Kyjov, 2009 Jméno a příjmení autora: Veronika Králíková Název diplomové práce: Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK Název v angličtině: Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Katedra: Veřejná ekonomika Vedoucí diplomové práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2009 Anotace Předmětem diplomové práce „Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK“ je analýza historického vývoje těchto institucí a jejich vzájemná komparace. První část popisuje historický vývoj a tedy i východiska, na kterých byly obě galerie vybudovány. Druhá část je věnována dnešní podobě galerií. Závěrečná kapitola je zaměřena na jejich vzájemnou komparaci. Annotation The objective of the thesis „Institutional comparison of a continental and an Anglo-american models: National Gallery in UK and CZ“ is historical development analysis and their mutual comparison. The first part describes the historical making and thus also origins of the establishment of both galleries. The second part presents their contemporary form. The closing