27,548 research outputs found
Portrait of Chip Harding, Parilla, South Australia [picture].
No full textTitle from label on back of print.; This photograph was taken as part of John Meredith's "Real Folk" Australian folklore recording project.; P1/59; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-an12551677. "Arriving home from work, Chip showered and got into 'something comfortable' - his night shirt, before performing for John Meredith and Martin Fallding"
Reflections on the Ballet des Porcelaines: Between intention and impact
No full textThis article reflects the intention and impact of the dance research project Le Ballet des Porcelaines or The Teapot Prince, co-created by Professor Meredith Martin with the choreographer and activitst Phil Chan and assisted by Dr Elisa Cazzato as wardrobe supervisor and tour manager in the Italian venues. Written by the comte de Caylus, with music by Nicolas-Racot de Grandval, and based on a fairy tale, this ballet tells the story of an Asian sorcerer who rules a ‘blue island’ and transforms trespassers into porcelain. A prince gets stranded on the island and is turned into a teapot, and a princess has to rescue her lover by seducing the sorcerer, stealing his wand, and breaking the spell. On the one hand a standard Orientalist fable, the ballet can also be read as also an allegory for the intense European desire to know and possess the secrets of making porcelain, a quasi-magical substance that China had been producing for centuries. Though it would inspire later ballets featuring sleeping beauties and porcelain princesses, the Ballet des Porcelaines is virtually unknown and—until recently—had not been performed for nearly three hundred years. This paper discusses our experiences in creating and presenting our new version of the ballet from 2021-22 at venues throughout the U.S. and Europe, including The Metropolitan Museum of Art, The University of Chicago, Princeton University, Waddesdon Manor and Brighton Royal Pavilion in the UK, and the Museo di Capodimonte and Palazzo Grassi in Italy
Reflections on the Ballet des Porcelaines: Between intention and impact
No full textThis article reflects the intention and impact of the dance research project Le Ballet des Porcelaines or The Teapot Prince, co-created by Professor Meredith Martin with the choreographer and activitst Phil Chan and assisted by Dr Elisa Cazzato as wardrobe supervisor and tour manager in the Italian venues. Written by the comte de Caylus, with music by Nicolas-Racot de Grandval, and based on a fairy tale, this ballet tells the story of an Asian sorcerer who rules a ‘blue island’ and transforms trespassers into porcelain. A prince gets stranded on the island and is turned into a teapot, and a princess has to rescue her lover by seducing the sorcerer, stealing his wand, and breaking the spell. On the one hand a standard Orientalist fable, the ballet can also be read as also an allegory for the intense European desire to know and possess the secrets of making porcelain, a quasi-magical substance that China had been producing for centuries. Though it would inspire later ballets featuring sleeping beauties and porcelain princesses, the Ballet des Porcelaines is virtually unknown and—until recently—had not been performed for nearly three hundred years. This paper discusses our experiences in creating and presenting our new version of the ballet from 2021-22 at venues throughout the U.S. and Europe, including The Metropolitan Museum of Art, The University of Chicago, Princeton University, Waddesdon Manor and Brighton Royal Pavilion in the UK, and the Museo di Capodimonte and Palazzo Grassi in Italy
Martin, Meredith (FA 454)
No full textFinding aid for Folklife Archives Project 454. Transcripts of four telephone interviews conducted with dance educator and choreographer Forrest W. Coggan by Meredith Martin, a graduate student in Western Kentucky University\u27s Folk Studies Department
The Rise and Fall of Meter : Poetry and English National Culture, 1860--1930 /
No full textWhy do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, "English meter" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline. The Rise and Fall of Meter tells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, "English meter" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline. The Rise and Fall of Meter tells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.Electronic reproduction.Mode of access: Internet via World Wide Web.MartinMeredith: Meredith Martin is associate professor of English at Princeton University.Description based on online resource; title from PDF title page (publisher’s Web site, viewed October 27 2015
Journal18. A Journal of Eighteenth-Century Art and Culture #10
No full text#10 - 1720 (Fall 2020)
Paris, 1720. Throngs of frenzied speculators gather on rue Quincampoix, seduced by the promise of spectacular wealth awaiting investors in the Compagnie des Indes. The manic trade in stock shares fuels an unprecedented bull market that culminates in the world’s first international financial disaster: the collapse of the Mississippi and South Sea Bubbles, named after the state-sponsored, New World trading companies in France and England, respectively, that ignited the speculation craze. The calamities will live on in popular imaginations as inaugurating the boom-and-bust cycles of the modern economy. Anonymous Dutch prints compiled in a volume known as Het groote tafereel der dwaashied (“The Great Mirror of Folly,” or the Tafereel) will immortalize the bubbles as lessons in the dangers of herd behavior. In the example shown on this issue’s cover, John Law—controller-general of France’s finances, mastermind of the Mississippi scheme, and recent convert to Catholicism—squats on a pedestal while three priest-like charlatans cram a funnel filled with coins into his open mouth, prompting him to defecate a bill bearing his own name into the hands of an overeager speculator. The print lampoons not only Law but also the worshipful hordes who foolishly invested belief in his filthy lucre, empty paper promises emblematic of what satirists dubbed “a commerce in wind.”
Such caricatures have long dominated visual accounts of 1720—until now. This issue of Journal18 reconsiders that watershed year not only through satirical depictions but also through the lens of art objects that, far from critiquing the delusions and desires unleashed by New World commerce, actively encouraged them. Taking part in a tricentenary reevaluation of the significance of the bubbles—one that includes a special issue of the journal Eighteenth-Century Studies; a workshop on “Panic and Plague in 1720 and 2020” organized by the Center for Early Modern History at the University of Minnesota; and a forthcoming exhibition on “Fortune and Folly in 1720” at The New York Public Library–the four articles comprising this issue explore how artworks made around 1720 alternatively proselytized on behalf of bubble ventures, and promoted ideologies and activities that supported colonial commerce.
Investigating the pocket globes designed by the London cartographer, engraver, and publisher Herman Moll, Jason Nguyen argues that such commodities effectively marketed slave-labor backed practices of global capitalism to a broadening consumer base. Examining the role of cartographic practice and prints alike in mythologizing the promise of New World commerce, Camille Mathieu spotlights the ways in which maps of La Louisiane—and particularly their cartouches—substituted utopian visions of readily-extractable mineral wealth for realities of forced, Indigenous labor. William N. Goetzmann and Darius A. Spieth explore how Giovanni Antonio Pellegrini’s allegorical ceiling painting for Paris’s Banque Royale attempted to visualize and endorse Law’s vision of global commercial hegemony–in part by drawing upon royal precedents that were subsequently ridiculed in the Tafereel. Pellegrini’s depiction of the “diverse nations of the world” may have helped inspire the artist’s sister-in-law and travel companion in Paris, Rosalba Carriera, to create her own much more intimate version of the Four Continents in pastel. In his contribution, Oliver Wunsch offers a nuanced reading of Carriera’s images, complicating a standard view of how artistic renderings of skin color contributed to emerging ideas of racial difference.
It is our hope that these discussions, spanning multiple media and geographies, will contribute to new understandings not only of the seminal impact of 1720 over the course of the long eighteenth century, but also of its critical relevance to our current moment.
Issue Editors
Nina Dubin, University of Illinois at Chicago
Meredith Martin, NYU and Institute of Fine Arts, New Yor
Digital Humanities Design Review Evaluation
No full textThe Princeton Center for Digital Humanities (CDH) director, Meredith Martin, sent this letter to my advisor and the other professors on my dissertation committee to alert them of the successful status of my design review document. This document certifies that my project has been peer reviewed by the CDH committee and is on track towards timely completion
Reseña de: Martin, Meredith y Weiss, Gillian, The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France: Reseña
No full textBook review: Martin, Meredith y Weiss, Gillian, The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France, Los Ángeles, Getty Research Institute, 2022, 244 págs. ISBN 978-16-0606-730-7.Reseña de: Martin, Meredith y Weiss, Gillian, The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France, Los Ángeles, Getty Research Institute, 2022, 244 págs. ISBN 978-16-0606-730-7
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