Rural Scenes And National Representation
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| Author | : Elizabeth K. Helsinger |
| Publisher | : Princeton University Press |
| Total Pages | : 320 |
| Release | : 2014-07-14 |
| Genre | : Literary Criticism |
| ISBN | : 1400864372 |
Elizabeth Helsinger's iconoclastic book explores the peculiar power of rural England to stand for conflicting ideas of Britain. Despite the nostalgic appeal of Constable's or Tennyson's rural scenes, they record the severe social and economic disturbances of the turbulent years after Waterloo. Artists and writers like Cobbett, Clare, Turner, Emily Brontë, and George Eliot competed to claim the English countryside as ideological ground. No image of rural life produced consensus over the great questions: who should constitute the nation, and how should they be represented? Helsinger ponders how some images of rural life and land come to serve as national metaphors while others challenge their constructions of Englishness at the heart of the British Empire. Drawing on recent work in social history, nationalism, and geography, as well as the visual and literary arts, Helsinger recovers other possible and alternative readings of social ties embedded in the imagery of land. She reflects on the power of rural images to transfer local loyalties to the national scene, first popularizing then institutionalizing them. By turning a critical gaze on these scenes, she comments on the difference between art and ideology, and the problems and dangers of asserting any kind of national identity through imagery of the land. Originally published in 1996. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
| Author | : Jen Hill |
| Publisher | : SUNY Press |
| Total Pages | : 250 |
| Release | : 2009-01-08 |
| Genre | : Literary Criticism |
| ISBN | : 9780791472309 |
From explorers’ accounts to boys’ adventure fiction, how Arctic exploration served as a metaphor for nation-building and empire in nineteenth-century Britain.
| Author | : Matthew Reynolds |
| Publisher | : OUP Oxford |
| Total Pages | : 322 |
| Release | : 2005 |
| Genre | : History |
| ISBN | : 9780199282029 |
Robert and Elizabeth Browning, Tennyson, and Clough lived and wrote in a time of "nation-building." The Realms of Verse brings that political and intellectual context to life, and traces its influence on the narratives, language, and form of their poetry. Theoretically astute and historically detailed, this study is the most far-reaching reassessment of Victorian poetry to have been published in recent years.
| Author | : Katherine Haldane Grenier |
| Publisher | : Taylor & Francis |
| Total Pages | : 268 |
| Release | : 2017-07-05 |
| Genre | : Business & Economics |
| ISBN | : 1351878662 |
In the late eighteenth and nineteenth centuries, legions of English citizens headed north. Why and how did Scotland, once avoided by travelers, become a popular site for English tourists? In Tourism and Identity in Scotland, 1770-1914, Katherine Haldane Grenier uses published and unpublished travel accounts, guidebooks, and the popular press to examine the evolution of the idea of Scotland. Though her primary subject is the cultural significance of Scotland for English tourists, in demonstrating how this region came to occupy a central role in the Victorian imagination, Grenier also sheds light on middle-class popular culture, including anxieties over industrialization, urbanization, and political change; attitudes towards nature; nostalgia for the past; and racial and gender constructions of the "other." Late eighteenth-century visitors to Scotland may have lauded the momentum of modernization in Scotland, but as the pace of economic, social, and political transformations intensified in England during the nineteenth century, English tourists came to imagine their northern neighbor as a place immune to change. Grenier analyzes the rhetoric of tourism that allowed visitors to adopt a false view of Scotland as untouched by the several transformations of the nineteenth century, making journeys there antidotes to the uneasiness of modern life. While this view was pervasive in Victorian society and culture, and deeply marked the modern Scottish national identity, Grenier demonstrates that it was not hegemonic. Rather, the variety of ways that Scotland and the Scots spoke for themselves often challenged tourists' expectations.
| Author | : David Peters Corbett |
| Publisher | : John Wiley & Sons |
| Total Pages | : 599 |
| Release | : 2016-02-16 |
| Genre | : Art |
| ISBN | : 1119170117 |
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
| Author | : Peter Fritzsche |
| Publisher | : Harvard University Press |
| Total Pages | : 300 |
| Release | : 2004-05-28 |
| Genre | : History |
| ISBN | : 9780674013391 |
In this inventive book, Peter Fritzsche explores how Europeans and Americans saw themselves in the drama of history, how they took possession of a past thought to be slipping away, and how they generated countless stories about the sorrowful, eventful paths they chose to follow. In the aftermath of the French Revolution, contemporaries saw themselves as occupants of an utterly new period. Increasingly disconnected from an irretrievable past, worried about an unknown and dangerous future, they described themselves as indisputably modern. To be cast in the new time of the nineteenth century was to recognize the weird shapes of historical change, to see landscapes scattered with ruins, and to mourn the remains of a bygone era. Tracing the scars of history, writers and painters, revolutionaries and exiles, soldiers and widows, and ordinary home dwellers took a passionate, even flamboyant, interest in the past. They argued politics, wrote diaries, devoured memoirs, and collected antiques, all the time charting their private paths against the tremors of public life. These nostalgic histories take place on battlefields trampled by Napoleon, along bucolic English hedges, against the fairytale silhouettes of the Grimms' beloved Germany, and in the newly constructed parlors of America's western territories. This eloquent book takes a surprising, completely original look at the modern age: our possessions, our heritage, and our newly considered selves.
| Author | : Cynthia Wall |
| Publisher | : University of Chicago Press |
| Total Pages | : 355 |
| Release | : 2019-02-22 |
| Genre | : Literary Criticism |
| ISBN | : 022646797X |
In Grammars of Approach, Cynthia Wall offers a close look at changes in perspective in spatial design, language, and narrative across the late eighteenth and early nineteenth centuries that involve, literally and psychologically, the concept of “approach.” In architecture, the term “approach” changed in that period from a verb to a noun, coming to denote the drive from the lodge at the entrance of an estate “through the most interesting part of the grounds,” as landscape designer Humphrey Repton put it. The shift from the long straight avenue to the winding approach, Wall shows, swung the perceptual balance away from the great house onto the personal experience of the visitor. At the same time, the grammatical and typographical landscape was shifting in tandem, away from objects and Things (and capitalized common Nouns) to the spaces in between, like punctuation and the “lesser parts of speech”. The implications for narrative included new patterns of syntactical architecture and the phenomenon of free indirect discourse. Wall examines the work of landscape theorists such as Repton, John Claudius Loudon, and Thomas Whately alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and the novels of Defoe, Richardson, Burney, Radcliffe, and Austen to reveal a new landscaping across disciplines—new grammars of approach in ways of perceiving and representing the world in both word and image.
| Author | : Nancy Shumate |
| Publisher | : A&C Black |
| Total Pages | : 234 |
| Release | : 2013-11-20 |
| Genre | : History |
| ISBN | : 1849667489 |
The often overlapping discourses of nationalism and imperialism, along with related ideas of social decline, have been central in 19th- and 20th-century Anglo-European views of the world. This book offers four readings of Latin literary texts to show that the templates for these 'modern' discourses were forged in their essentials by the early Roman imperial period. Each chapter follows the relevant rhetorical thread in works of Horace, Tacitus or Juvenal, comparing their strategies with the defining structures of modern nationalist or colonialist discourses. General rhetorical principles can be discerned, remarkably persistent across time and circumstances. Classicists will find something new in an approach that systematically analyses the rhetorical strategies that underlie Roman prototypes of these discourses while demonstrating how closely later incarnations follow them.
| Author | : William Williams |
| Publisher | : University of Wisconsin Pres |
| Total Pages | : 281 |
| Release | : 2012-02-24 |
| Genre | : History |
| ISBN | : 0299225232 |
Picturesque but poor, abject yet sublime in its Gothic melancholy, the Ireland perceived by British visitors during the eighteenth and nineteenth centuries did not fit their ideas of progress, propriety, and Protestantism. The rituals of Irish Catholicism, the lamentations of funeral wakes, the Irish language they could not comprehend, even the landscapes were all strange to tourists from England, Wales, and Scotland. Overlooking the acute despair in England’s own industrial cities, these travelers opined in their writings that the poverty, bog lands, and ill-thatched houses of rural Ireland indicated moral failures of the Irish character.
| Author | : MarkA. Cheetham |
| Publisher | : Routledge |
| Total Pages | : 201 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 1351575236 |
Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British culture-did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately according to imported criteria of what theory is and does. This book demonstrates that artwriting in the English tradition has not been sufficiently studied, and that 'English Art Theory' is not an oxymoron. Such concerns resonate today beyond academe and the art world in the many heated discussions of resurgent Englishness.
