19,257 research outputs found
Carving a legacy : the identity of Jacob Epstein (1880-1959)
No full textThe purpose of this thesis is to examine the efforts which were made during the life of Jacob Epstein and at the time his death to fix a particular identity that has thus shaped his legacy. The question that this thesis wishes to address is: how was Jacob Epstein's legacy carved?
The first part of this thesis, entitled 'Remembering Epstein', seeks to unpack and examine the written discourse surrounding his death. This will be done by assessing the themes, debates and considerations of Epstein's position in the history of art and will focus on four case studies: the obituaries and memorial pieces that were written immediately after Epstein's death; a memorial service that was held at St. Paul's Cathedral; a failed proposal
to tum Epstein's home studio into a museum; and the organisation and critical reception of the Epstein Memorial Exhibition held in Edinburgh in 1961. The second part of this thesis, entitled 'Writing a Legacy', attends to the analysis of texts which were written about or by Epstein throughout his career. This will be done through a close examination of those texts which have come to shape our understanding of Epstein's place in the history of art and will focus on five case studies: the writings of T. E. Hulme; Epstein by Bernard Van Dieren; a series of interviews with Epstein by Arnold Haskell, entitled The Sculptor Speaks; Epstein's role in protesting against repairs to ancient sculpture in the British Museum; and a chapter entitled 'My Place in Sculpture' from the 1954 edition of Epstein's autobiography. The final part of the thesis, entitled 'Selected Works', will focus on six separate sculptures as case studies for assessing different aspects of Epstein's artistic output. The works which
will be examined: The Rock Drill (1913), The Risen Christ (1917-19), Madonna and Child (1926-27), Genesis (1929), Albert Einstein (1933), and Madonna and Child (1950-52)
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
No full textAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
Jacob Epstein. Rebel-angel - ACE168.5
No full textFeibleman talking about the bust Epstein made of him around 1926, and Epstein’s working methods. Michael Gillespie, Sculptor, who had worked with Epstein; using similar technique to that described by Feibleman, and talking about how Epstein brought faces alive. Epstein’s busts of Romilly John (1907), and a young woman; Nan (The Dreamer) (1911). Film of Isobel in exhibition (1933); Lewis’s VO. Bust of Sunita (Amina Peerbhoy), sketches of Sunita including The Indian Mother and Child (1932). Madonna and Child (1926-1927). Sketches of Meum Stewart. Lewis on learning that Stewart and not Margaret Epstein was her real mother. Photograph of young Lewis with Epstein. She talks about modelling for him. Photograph of Epstein with head of Peggy-Jean. Bronze of Peggy Jean Laughing. Epstein’s words over. Head of Roland Joffé (1949-50). Roland Joffé, Film Director, on memories of life in the Epstein household, and of Epstein at work. The Epstein house at Hyde Park Gate. Joffé VO. Lewis VO on visitors to the house. Joffé and Lewis on Epstein. Photographs of Epstein and his studio. Ecce Homo. Silber VO on its reception. British Paramount News item on Epstein opening an exhibition of his work. He talks about his latest work, Primeval Gods (1931-1933), and presumes the critics will be "blind minded". Other work by Epstein in same exhibition. Williams on Epstein’s 1930s large sculptures which many people found offensive. Jacob and the Angel (1940). Silber on Epstein in the 1930s: Woman Possessed (1932). Genesis (1931). Adam (1939). Williams VO on the reception of such pieces
Jacob Epstein. Rebel-angel
No full textPart of Gaumont-British News item Genesis Goes to the Seaside. Genesis (1931) at Blackpool, Jacob Epstein at unveiling of Adam (1939) at Blackpool, Genesis on truck passing through London. Genesis being uncrated; VO on the criticism levelled at Epstein’s work during his lifetime. Examples of his sculptures. Photograph of Epstein. Dr Evelyn Silber, Assistant Director, Birmingham Museum and Art Gallery, talking about Epstein’s reputation since his death. VO continues over film of Epstein at work. Photographs of Epstein; VO of Antony Gormley, Sculptor. Gormley says every sculptor in Britain owes Epstein a great debt for his pioneering work. Self Portrait (1901); photograph of the British Medical Association building in the Strand, London, for which, in 1907, Charles Holden commissioned Epstein to produce eighteen figures. Photograph of Epstein with one of the figures; Epstein’s words read over. Richard Cork, Art Critic of The Listener, talking about Holden decision to employ Epstein. Examples of the sculptures which display (Epstein’s description) "the primal emotions". Epstein’s words, suggesting the figures had some "human meaning", read over. Photograph of some of the nude figures in place; Epstein’s words over talking about complaints fomented by the National Vigilance League in the building opposite. Silber on the prudishness of the time, and the "draped and idealised figures on the Victoria Memorial" as illustrative of the kind of work Epstein and others wished to break away from. Cork describes Epstein as an "invader", able to take a more detached view of British art. Street scenes in the East Side, New York City; Epstein’s words over. Photograph of Epstein’s parents. Peggy-Jean Lewis, Daughter, on Epstein’s family’s preference that he should become a professional, not an artist. Sketches by the young Epstein of life on the East Side, and some of his illustrations for The Spirit of the Ghetto (1902) by Hutchins Hapgood. Epstein’s words over describing how he turned to sculpture. Self Portrait (1901). Glynn Williams, Sculptor, at work and describing how Epstein was among the first to work directly, by hand, on the actual material for the sculpture, rather than making a model that would be reproduced mechanically on the final material. Epstein’s Maternity (1910). Hoptonwood stone quarries, Derbyshire; Epstein’s words over. Photograph of Epstein and his work for the Tomb of Oscar Wilde (1909-1912), at the Cimetière du Père Lachaise, Paris. The tomb. Epstein’s words over on his ideas for the work and its poor reception by the French. Work by Modigliani and Brancusi, African carvings. Photographs of Epstein’s own collection of African pieces. Lewis’s VO talking about them. Gormley on Epstein’s use of the spirit of "primitive" art. Birth (1913-1914); another piece; Doves (1913). Female Figure in Flenite (1913). Cork talking about Epstein breaking away from the Hellenic and Renaissance traditions, and about seeing sculpture in global terms. Quarrying. Sketches for Rock Drill (1913-1914), inspired by the work of the Vorticists. Unpacking and assembling the piece. Epstein’s words over. Metal cast of the upper part of the Rock Drill figure. Photograph of Epstein in military uniform. The Risen Christ (1917). Epstein’s words over. Lewis VO on her father’s religious feelings. Criticisms of the statue.Silber on the controversial nature of Epstein’s religious figures. Consummatum Est (1936), Ecce Homo (1934). Silber attributes some of the criticism to anti-Semitism. Coventry Cathedral; St Michael’s Victory Over the Devil (1958). Lewis on Epstein’s views. Rima (1923), the W. Hudson memorial in Hyde Park. Epstein’s words over. Press comment. Contemporary cinema news item (from Topical Budget) on Homerville Hague’s "12 hour non-stop speech against Epstein’s Rima". The London Underground Headquarters, 55 Broadway, for which Charles Holden commissioned Epstein, Henry Moore and others. Sketches by Epstein; the completed pieces of Day and Night (1928-1929); Epstein’s words. Cork VO. The Strand sculptures. Commentary relates how, in 1937, part of one statue fell off and the Government of Southern Rhodesia, then owners of the building, had most of them hacked away. Epstein’s words over commenting on this. Photograph of Epstein who received no further public commissions for another twenty years. Lewis on her mother managing the financial situation at home; sketch and bust of her. Professor James Feibleman on the Epsteins’ finances. Photograph of Epstein and Kathleen Garman; sketches of their children, Kitty, Theo and Esther. Lewis on Epstein’s two families. British Paramount News item on Epstein’s bust of Ramsay MacDonald (1934). Feibleman on the popularity of Epstein’s portraiture. Bust of Joseph Conrad (1924), Epstein’s words over. Photograph of Epstein with George Bernard Shaw; completed bust (1934) filmed with Shaw who comments on it. Feibleman talking about the bust Epstein made of him around 1926, and Epstein’s working methods. Michael Gillespie, Sculptor, who had worked with Epstein; using similar technique to that described by Feibleman, and talking about how Epstein brought faces alive. Epstein’s busts of Romilly John (1907), and a young woman; Nan (The Dreamer) (1911). Film of Isobel in exhibition (1933); Lewis’s VO. Bust of Sunita (Amina Peerbhoy), sketches of Sunita including The Indian Mother and Child (1932). Madonna and Child (1926-1927). Sketches of Meum Stewart. Lewis on learning that Stewart and not Margaret Epstein was her real mother. Photograph of young Lewis with Epstein. She talks about modelling for him. Photograph of Epstein with head of Peggy-Jean. Bronze of Peggy Jean Laughing. Epstein’s words over. Head of Roland Joffé (1949-50). Roland Joffé, Film Director, on memories of life in the Epstein household, and of Epstein at work. The Epstein house at Hyde Park Gate. Joffé VO. Lewis VO on visitors to the house. Joffé and Lewis on Epstein. Photographs of Epstein and his studio. Ecce Homo. Silber VO on its reception. British Paramount News item on Epstein opening an exhibition of his work. He talks about his latest work, Primeval Gods (1931-1933), and presumes the critics will be "blind minded". Other work by Epstein in same exhibition. Williams on Epstein’s 1930s large sculptures which many people found offensive. Jacob and the Angel (1940). Silber on Epstein in the 1930s: Woman Possessed (1932). Genesis (1931). Adam (1939). Williams VO on the reception of such pieces.Movietone News item on Adam at Blackpool. Lewis on the "sideshow deal" at Blackpool. Newsreel item of Genesis at auction; sold for £4,200 to the art exhibition on Blackpool Promenade. Madonna and Child (1950-1952) at the Convent of the Holy Child Jesus, Cavendish Square, modelled on pianist Marcella Barzetti, who talks about Epstein feeling "an outsider". Photograph of Epstein; Silber talks about Epstein’s acceptance in the 1950s; photograph of Christ in Majesty (1957) at Llandaff Cathedral; St Michael’s Victory Over the Devil. Silber relates all these works to the need for "gravitas" in post-war reconstruction. Epstein and wife Kathleen at Buckingham Palace on the occasion of his knighthood in 1954. Lewis explains what this honour meant to him. First bust of Epstein’s daughter Esther (1944); Epstein’s VO describes this as his best work. A bust of Kathleen. Joffé on Kathleen’s relationship with Epstein. Photograph of the couple. Geoffrey Ireland, Photographer. Photographs of Epstein working on the 1939-1945 War Memorial (1956-1957) on the Trades Union Congress building, London. Lewis on correspondence with her father, in particular a letter in which he described his work on the War Memorial. The completed sculpture. Ireland talks about Epstein’s fear that he might not live to finish the work. The Bowater House Group, completed on the day of Epstein’s death in 1959. Lewis talks about his last moments. Silbert talks about his career and reputation. Tomb of Oscar Wilde, Ecce Homo, and other pieces with Epstein’s words on his work over. Credits
How Might Adam Smith Pay Professors Today?
No full textAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
Jacob Epstein. Rebel-angel - ACE168.2
No full textPart of Gaumont-British News item Genesis Goes to the Seaside. Genesis (1931) at Blackpool, Jacob Epstein at unveiling of Adam (1939) at Blackpool, Genesis on truck passing through London. Genesis being uncrated; VO on the criticism levelled at Epstein’s work during his lifetime. Examples of his sculptures. Photograph of Epstein. Dr Evelyn Silber, Assistant Director, Birmingham Museum and Art Gallery, talking about Epstein’s reputation since his death. VO continues over film of Epstein at work. Photographs of Epstein; VO of Antony Gormley, Sculptor. Gormley says every sculptor in Britain owes Epstein a great debt for his pioneering work. Self Portrait (1901); photograph of the British Medical Association building in the Strand, London, for which, in 1907, Charles Holden commissioned Epstein to produce eighteen figures. Photograph of Epstein with one of the figures; Epstein’s words read over. Richard Cork, Art Critic of The Listener, talking about Holden decision to employ Epstein. Examples of the sculptures which display (Epstein’s description) "the primal emotions". Epstein’s words, suggesting the figures had some "human meaning", read over. Photograph of some of the nude figures in place; Epstein’s words over talking about complaints fomented by the National Vigilance League in the building opposite. Silber on the prudishness of the time, and the "draped and idealised figures on the Victoria Memorial" as illustrative of the kind of work Epstein and others wished to break away from. Cork describes Epstein as an "invader", able to take a more detached view of British art. Street scenes in the East Side, New York City; Epstein’s words over. Photograph of Epstein’s parents. Peggy-Jean Lewis, Daughter, on Epstein’s family’s preference that he should become a professional, not an artist. Sketches by the young Epstein of life on the East Side, and some of his illustrations for The Spirit of the Ghetto (1902) by Hutchins Hapgood. Epstein’s words over describing how he turned to sculpture
Jacob Epstein. Rebel-angel - ACE168.6
No full textMovietone News item on Adam at Blackpool. Lewis on the "sideshow deal" at Blackpool. Newsreel item of Genesis at auction; sold for £4,200 to the art exhibition on Blackpool Promenade. Madonna and Child (1950-1952) at the Convent of the Holy Child Jesus, Cavendish Square, modelled on pianist Marcella Barzetti, who talks about Epstein feeling "an outsider". Photograph of Epstein; Silber talks about Epstein’s acceptance in the 1950s; photograph of Christ in Majesty (1957) at Llandaff Cathedral; St Michael’s Victory Over the Devil. Silber relates all these works to the need for "gravitas" in post-war reconstruction. Epstein and wife Kathleen at Buckingham Palace on the occasion of his knighthood in 1954. Lewis explains what this honour meant to him. First bust of Epstein’s daughter Esther (1944); Epstein’s VO describes this as his best work. A bust of Kathleen. Joffé on Kathleen’s relationship with Epstein. Photograph of the couple. Geoffrey Ireland, Photographer. Photographs of Epstein working on the 1939-1945 War Memorial (1956-1957) on the Trades Union Congress building, London. Lewis on correspondence with her father, in particular a letter in which he described his work on the War Memorial. The completed sculpture. Ireland talks about Epstein’s fear that he might not live to finish the work. The Bowater House Group, completed on the day of Epstein’s death in 1959. Lewis talks about his last moments. Silbert talks about his career and reputation. Tomb of Oscar Wilde, Ecce Homo, and other pieces with Epstein’s words on his work over. Credits
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
No full textThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Micro RNAs of Epstein-Barr virus promote cell cycle progression and prevent apoptosis of primary human B cells.
No full textCellular and viral microRNAs (miRNAs) are involved in many different processes of key importance and more than 10,000 miRNAs have been identified so far. In general, relatively little is known about their biological functions in mammalian cells because their phenotypic effects are often mild and many of their targets still await identification. The recent discovery that Epstein-Barr virus (EBV) and other herpesviruses produce their own, barely conserved sets of miRNAs suggests that these viruses usurp the host RNA silencing machinery to their advantage in contrast to the antiviral roles of RNA silencing in plants and insects. We have systematically introduced mutations in EBV's precursor miRNA transcripts to prevent their subsequent processing into mature viral miRNAs. Phenotypic analyses of these mutant derivatives of EBV revealed that the viral miRNAs of the BHRF1 locus inhibit apoptosis and favor cell cycle progression and proliferation during the early phase of infected human primary B cells. Our findings also indicate that EBV's miRNAs are not needed to control the exit from latency. The phenotypes of viral miRNAs uncovered by this genetic analysis indicate that they contribute to EBV-associated cellular transformation rather than regulate viral genes of EBV's lytic phase
- …
